Assignment five reflections what did I do:

note from advise at beginning of assignment:


Be objective and highly critical

How can I achieve an image which reflects the colourful, the mystical and the flow of life but retains a frailty?

I have drawn and collaged quite a few images through this, the final part of the drawing course.

My aim was to produce an image which had some of the mystique of the sun on the dried and empty frail seed pods of the Honesty plant, to link that to human life –the life lost but on going  –and I have discovered that the Ash in Norse mythology was the tree from which man sprang , spanning the universe and delving deep to the past and lower worlds (ref: Looking at the soft and intricate structure of the Honesty seed pods I wanted to use lace as a background to emulate leaves by its multiple shapes.

I have looked at several artists and these have both developed and changed my initial  ideas

Rennie Mackintosh,  Margaret MacDonald , Herbert MacNair the three members of the Glasgow sect who developed the classical art nouveau images of flowing lines and stylised flowers and plants and of Alphonse Mucha who also used flowing lines in the depiction of  images as simple as dishes and cutlery.  I have tried some images with flowing lines and some that contrast the woven pattern of lace against the natural forms of seed pods to emulate the images of Rennie Mackintosh but I find his images too stylised and lacking in colour, however the patterns of the lace black and white produces an interesting background.




I looked at the work of Henrik Simonsen whose  light plants against the dark background in a ” photographic negative” manner an idea I rejected as being too hard “flashy” and harsh

The delicate pencil crayon drawings which emulate some of Michael Landy’s


In this image I like the blending of different colours, it has a clear, clean and peaceful feeling, but is not sufficiently active and lively.

Nanako Kawaguchi took me back to the love of Japenese origin artists, In her drawings I loved the colour and unusual forms. These images are reminiscent of the Art Nouveau flowing lines and plant life which I like  but I chose not to reflect through in my work as they are a little too “girly”

Looking at the image by Astrid Bowlby in the Drawing Now book in which she has made a table of safety pins look as though it stretches to eternity I have attempted to produce perspective with the seed pods -the final image did not succeed but I liked its clarity. However it is not close too the image I would like to finally produce:


Goergia O Keefe lead me into looking at leaves from a closer quarter but I did not seriously follow this up as the overall image is too solid, lacking the busy-ness that I am hoping to produce:

IMG_9543I also ventured into one or two sketches based on the Hockney image Fruhe Zeichnung but his drawings are too clear and well defined although I love the colours:


Andra Ursuta’s influence produced an interesting tonal image in ink and crayon which I worked on later in further images:


Some of the images that most impressed me were those of the tulips of Wardell Milan who I emulated in the drawing of a leaf:IMG_9466and took the idea of colour dripping from the image  into a later drawing:IMG_9592

I will certainly try to produce some of this displacement of colour from the main image to the background.

And although I liked the ghostly image of the galleon by Friedrich Kunaith I felt it was too delicate and “simple”for the final image I was trying to conjure although I felt the use of colour on black was exciting:



The closer I came to abstraction the more I was excited by the images:

IMG_9518and my discovery at this point of the paintings of Kandinsky were uplifting in colour and activity


Jiri Kolar German artist in collage and paper -I thought may lead me into a lace like pattern but his work is more solid than the open effect I was looking for.


on the basis of these drawings: I  conclude that I like the colourful images inspired by Kandinsky and Wardell Milan and the detailed ink additions of Wardell Milan and Andra Ursuta. I am also very fond of the delicate pencil crayon drawings but feel that in order to produce a strong image  I will use oil pastel or chalk pastel with charcoal or graphite. Plus placing the image on a black background produces a lighting effect on the colour of the image which I find very attractive

My final image was on black and consisted of colourful and flowing lines with incorporation of lace like patterns in the background:I think the image depicts the frailty, has the flow and activity of life, it incorporates the Neolithic hand images in the form of leaves in the background, it is abstracted, busy and colourful and the glow of the honesty seed which first attracted me is enhanced by the black background. The initial final image on white paper has a greater solidity which although pleasing, lacks the ghostly glimmer  of the image on the black surface. The ghostliness helps with the aim of depicting the seedpods and the hands of life past and the manner in which the image lives and moves up the paper helps with the idea of life on going.



I am very pleased and like the final image and its depiction, not only of the seed pods that I had been studying but also the further meanings I wish to incorporate into the image.








Describe the symptoms to the consultant and then discuss the diagnosis in the light of knowledge possessed by the two? Test out the diagnosis and rediscuss and revisit treatment if not winning????

Having met with a few students at the weekend of 7/12/13 –one of them explained what she felt a blog was all about :
“If you don’t explain what you are doing no-one knows”
I conclude that reflection is about recording for your memory (and for the tutor to follow your thinking) how you developed  a particular image …is it then recording other factors like the social and political backgrounds of images which have influenced you and does it include the social etc background from which you yourself are coming? –does that mean our art should indicate some of our past or are we just following the instructions in the OCA handbook?


Document the route by which you have arrived at your final piece of work!!!!—turning subconscious learning into consciousness and so into memory?

Cross reference sections with your assignment work

Record, structure, reflect upon, plan, develop and evidence your own learning and skills development.

A record of what you have learned, tried and critically reflected upon

Reflect rather than describe.


I have looked at a few blogs  —and gleaned the following:


Looking at a recommended blog: the blogger decides what she wants to do before setting out

b)she sketches looks and resketches depending on whether she likes something or not as though she is aiming for something–I am just responding to the instructions in the book!

c) she takes photos on the way

d) so rather than drawing and then judging and changing she thinks beforehand –I know I don’t get anywhere near what I think out if I do that–but is this what we are expected to do so that we find our “voice” rather than just reproduce things.

e) she enjoys chatting -oh !!

f) she analyses her final pic against the criteria in a chatty non scientific way  –

Document the route by which you arrive at your final piece of work:

REFLECTIVE WRITING SEEMS TO BE MY PROBLEM–Are we talking about looking at the philosophy, the history, the social background of art works??

this quote from Harry Potter is very helpful:

Harry stared at the stone basin. The contents had returned to their original, silvery whitestate, swirling and rippling beneath his gaze.

“ What is it?” Harry asked shakily.

“This? It is called a Pensive,” said Dumbledore. “ I sometimes find, and I am sure you know the feeling, that I simply have too many thoughts and memories crammed into my mind.”
“Err,” said Harry who couldn’t truthfully say that he had ever felt anything of the sort.
“At these times” said Dumbledore, indicating the stone basin, “ I use the Pensive. One simply siphons the excess thoughts from one’s mind, pours them into a basin, and examines them at one’s leisure. It becomes easier to spot patterns and links, you understand, when they are in this form.’
( Rowling 2000)  Sourced on line December 2013 from
“It is not sufficient simply to have an experience in order to learn. Without reflecting upon this experience it may quickly be forgotten,
or its learning potential lost. It is from the feelings and thoughts emerging from this reflection that generalizations
or concepts can be generated. And it is generalizations that allow new situations to be tackled effectively.’

(Gibbs 1988)  sourced on line from:

Perhaps reflective thinking is a story told about one’s thoughts as they develop.???
moving beyond the descriptive, and subjecting your experience to greater scrutiny.      (are we talking about emotional responses?)
1) What is it you are reflecting on?
2) What are your reactions and feelings?
3) What was good or bad about the experience?————-(Is this a subjective response or an objective one on the basis of data?)
4) What sense can you make of the situation –bring in ideas from outside experience to understand what was really going on?
5) What general conclusions can be made?
6) What specific conclusions can be made from your own specific way of working?
7) What might you do differently next time? What steps will you take on the basis of what you have learnt?
Four levels of reflection:
1)Description only
2)Description but with deeper consideration (but of what?) No evidence of other viewpoints!!!!-
3)Dialogic reflection  A sense of mulling and stepping back A discourse with self and an exploration of a role of self in the events and actions. Judgement. Alternatives for explaining and hypothesising . Reflection is analytical or integrative (including other things) linking factors and perspectives…………………….
4)Critical reflection: the learner shows awareness that the actions and events are located in and explained by mulitiple perspectives and sociopolitical perspectives.

OCA handbook reflection:

Reflection can help you to:

  • better understand your strengths and weaknesses
  • identify and question your underlying values and beliefs
  • acknowledge and challenge possible assumptions on which you base your ideas, feelings and actions
  • recognize areas of potential bias or discrimination
  • acknowledge your fears, and identify possible inadequacies or areas for improvement.


  • what did I do?
  • how do I think/feel about this?
  • how well (or badly) did it go?
  • what did I learn?
  • what will I do differently next time?
  • how will I do it differently next time?
  • what have I achieved?
  • how have I put any theory into practice?
  • how does what I have been doing lead to me becoming better at a skill?
  • how can I use this to plan for the future?
  • how can I use this to plan new learning experiences?

chat about your work in relation to other artists

THEN THERE IS ANALYSIS -is this different to reflection?

analyse why you can’t do things

Reflect other artists in your work—why? Am I not an individual?

Analyse why I like artists and explore different drawing styles.


Forum quotes:

“Unless you can analyse work, how do you know whether yours is any good or not? And further how do you know why it is any good (or not)?  To learn how to analyse your own work you need to begin by analysing the work of well known and well regarded artists, you need to learn how to sort out the good points from the bad (composition, use of form, colour and so on).  When you have some competence in analysing images that are recognised a good then your analysis of your own work will have some meaning.”

ANALYSIS   source:


This means looking at the formal elements of an artwork.

  • What is the medium of the work?
  • What colours does the artist use? Why? How is colour organised?
  • What kind of shapes or forms can you find?
  • What kind of marks or techniques does the artist use?
  • What is the surface like?
  • What kinds of textures can you see?
  • How big is the work?


This refers to how the work relates to a particular time, place, culture and society in which it was produced.

  • When was it made? Where was it made? Who made it?
  • Who was the work made for?
  • What do you know about the artist?
  • How does the work relate to other art of the time?
  • Does the work relate to the social or political history of the time?
  • Can you link it to other arts of the period, such as film, music or literature?
  • Does the work relate to other areas of knowledge, such as science or geography?


The content is the subject of a piece of work.

  • What is it? What is it about? What is happening?
  • Is it a portrait? A landscape? Abstract?
  • What does the work represent?
  • The title – what does the artist call the work?
  • Does the title change the way we see the work?
  • Is it a realistic depiction?
  • Have any parts been exaggerated or distorted? If so, why?
  • What is the theme of the work?
  • What message does the work communicate?


Looking at process means studying how the work was made and what techniques were used.

  • What materials and tools were used to make the piece?
  • What is the evidence for this?
  • Do sketchbooks provide any clues as to how the work developed?


Mood means looking at how the artist has created a certain atmosphere or feeling.

  • How does the work make you feel?
  • Why do you think you feel like this?
  • Does the colour, texture, form or theme of the work affect your mood?
  • Does the work create an atmosphere?


From OCA website:   Composition is the placement, arrangement and organisation of the parts that make up a piece of work. A good composition arranges the shapes, forms and colours so that the art work makes an initial impact and then continues to hold the viewer’s interest. You should feel that the composition is not weighted in one direction or another but that everything is held in perfect balance.

  • Balance  Balance means making sure that different parts of a piece of artwork look equally interesting, pleasing or important. There are different types of balance.
    • Formal balance or symmetry – making both sides similar or the same.
    • Informal balance or asymmetry – making both sides of the composition not the same.
    • Radial balance – arranging the composition in circles or spirals.
  • Proportion
  • Unity  Unity means making your composition look like it belongs together as a whole. Techniques to show unity in a composition include overlapping shapes, altering scale and repetition of colours, textures or shape
  • Variety  This is concerned with using and exploring many types of a particular art element in your artwork.
  • Emphasis  Emphasis is making a particular part of your artwork stand out and appear more important. You can do this by:
  • making part of the composition bigger
  • using contrasting colours or tones
  • considering the positioning of objects
  • using lines (actual or perceived) to lead the eye to the object
  • Rhythm  Rhythm means repeating elements such as lines, shapes or colour. This leads your eye around an artwork, creating movement.
  • Contrast  This means showing a great difference between elements in your artwork. You can do this with size, shape, colour, texture or tone. Contrast in tone or colour can create a dramatic effect.
  • Visual movement Visual movement is when certain art elements in a piece of work have been arranged to lead the viewer’s eye around it

The elements are the parts used to make a piece of artwork. The art elements are line, shape, form, tone, texture, pattern and colour. They are often used together, and how they are organised in a piece of art determines what the finished piece will look like

use a range of “supports”

challenge oneself by doing drawings differently when I repeat them…change medium,speed


A visual diary used every day

Your interests and things that intrigued you

photos textiles magazine cuttings






critical thinking:  ” This process incorporates passion and creativity, but guides it with discipline, practicality and common sense” ref wikepedia

the intellectually disciplined process of actively and skilfully conceptualising, applying, analysing, synthesising and/or evaluating information gathered from, or generalised by, observation, experience, reflection, reasoning or communication, as a guide to belief or action [or argument]”  ref:

Reflections on the final assignment 5 What to do?

Reflecting on previous exercises through the course:

I particularly enjoyed the landscape and outdoor drawing (part 3) probably because the nice weather allowed me to sit outside and I looked at and emulated a variety of artists.

I discovered Oriental drawing and have found much of the work I like is emanating from the hand of artists of modern Oriental origin such as Ryoko Aoki ref:and Nobuya Hoki  ref:    both of whom use delicate line in their production of images. I have discovered this again in the work of Friedrich Kunath in the new Vitamin D2 New Perspectives in drawing book.

I produced a few successful drawings in  monochrome ink using Ugo Ronidone and Van Gogh as inspiration. These I liked for two different reasons, the Ugo Ronidone image because of the care and time put into the drawing of a simple bush of leaves. This image has good contrasts between fore and background and good negative space. It feels both fussy and calm and accomplished ref: I like my emulation of the Van Gogh image  (in “plotting space through composition” section) ref: )    because of the variety of marks which serve to separate background from foreground and produce confusion.  Ryoko Aoki’s influence appears again in “plotting space” as I convert the view across the field, through the fence to a simple felt tip image. This is jolly but benign and somehow grates on my eyes, perhaps there is just too much going on. (ref:

I also loved  drawing sitting in the grass in the orchard and in the meadow,  both images full of fuss and colour ,   with Ugo Ronidone in mind in the orchard drawing and the meadow without influence, but an experimentation in mark making. I am unsure if I agree with my tutor that the sky is unfinished-I think it is in keeping with the dotty/dashy feel of the drawing.    (ref:

Townscapes were less successful. I am unhappy with people around, feeling I need to draw more quickly. Also, the duller colours and less interesting forms compared to nature are less inspiring. Lowry is good but I have never been completely inspired by his dull grim images, liking them only because of their relative humour and their depiction of home in the North West.

Although I’d love to draw outside in  the winter -I find it difficult to sit in the cold and the potential of rain  washing me away.  Do I take photos and then draw from them? I am not keen on that

Hence, I have decided to concentrate on Part Two Observation in Nature and see what I can do with simple winter plants, particularly seed pods and crumpled leaves.

This was not a very successful project at the time I first attemtped it, mainly I think, because I had no books or advise on artists to research, to guide my drawings. However I enjoyed using dots and stipples and find they produce a light-hearted atmosphere. (But I am constantly reminding myself of the many other marks that help depict an image. I liked the drawing ( with Passmore in mind) of the vegetables on the table –swirling lines producing a landscape as much as a kitchen scene.   (ref:

I did not like drawing animals. They move too much and they have little colour compared to fruit and flowers . Also, depicting character through image is certainly not (as yet) a forte but it is something I need to work on.

This was equally so with section 4, “drawing the figure” I like the curves of the figure and perhaps should have attacked the images with more colour and varying marks to produce greater inspiration. I enjoy sketching little thumbnails of people whilst sitting in cafes or stations but I can’t see these ever developing  into larger pictures except as part of colour based socially descriptive “scapes” of my local surroundings. Capturing thoughts and character, I feel are something on which I should work.

What I did like about figure drawing, were the folds of fabric and the colours of clothing. I discovered Toulouse Lautrec who uses clothing as part of the overall social image and Leon Bakst whose costume designs for the Russian ballet had some of the feel of the natural worlds colour and shapes (in the twisting positions of the figures) .  ref:

Self portraits gave greater option to look at other artists in a more private environment and so develop ideas a little more, but I was still not as enthused as much as by nature, partly because the image is so “enclosed” an entity and it is so difficult to get a likeness as the human brain is so atuned to the minor nuances of the figure and face. This is an area I do need to practice.

Therefore my aim for project five is to study the plants of winter

The most successful and enjoyable images produced from “part two Observation in Nature” were those of the fruit and vegetables hatched in colour. I am very fond of colour and particularly strong colours-but here I used the subtle pencil crayons or felt tip to depict bananas and apples in unusual relation to each other and to the paper

ref :

Although I feel I am not “good” at composition, I have always been fond of the ASKEW, the IRREGULAR in composition  .

I would like to venture into the final assignment from the aspect of nature, to research more artists in this area and to use the dry and discoloured plants of winter.





So, Thinking about the subject for the final assignment

During an early morning walk, I took some pictures, the sun had a pinkish wintry hue, the red winter trees were glowing in this light.trying to capture( by manual control of the camera settings), the colours, the soft warmness and the silence of this morning, but it was too dark to see with a camera what the eye could see.

_MG_9304Of note the light histogram of the photo showed graphical grouping at the very light and the very dark polar ends of the spectrum. I know I often draw this deep contrast in tones e.g black against bright colour and am obviously attracted to contrasts.

What struck me most that in this pink glow were the seed pods of the Honesty flower (the siliculae) .They were shinning silvery white, nestling under the trees .I have used these plants before for two winter pictures, one in collage and one in oil. I seem to have a fascination for their frailty, their shiny white ,silver grey irregular colour, their crispiness , their beautiful flat and rounded shapes and the manner in which they are collected in crowded irreguklar groups on the stems.



Could I reproduce the colours of this morning and the peaceful warm feel?

The honesty seeds remind me of the delicacy of lace and the soft shininess of silk or velvet.

I have decided that because of my love of lace and delicate patterns I should look at lace to help with the final drawing of these honesty seeds.

New Life in a pod

I also remember that one of my pictures of the seed pods in the past highlighted the presence of two seeds beneath the silvery tissue membrane of the pod and reminded me of  foetal twins nestled in the uterus protected from the outside and wondered if I could bring in the medical world to the final drawing or at least a feeling of the development of new life.

What is the best way to depict  something so delicate as portrayed by the frailty of the seed pod and by the implication of new life emerging from the dark and relatively lifeless protection of the womb? Perhaps the seeds are delicate and the pod stronger in its protection than it appears.

How could I depict these life protecting pods?

Looking at modern artists as depicted in the books :” Vitamin D New perspectives in Drawing” and  “Drawing Now Between the lines of contemporary art”  I return to the Japanese artists  Ryoko Aoki (Ref: )

and( a more recent finding of),Nanako Kawaguchi  (ref:

the gentle colours and delicate sketches of Michael Landy’s drawings (ref:

What media would satisfy the feel of silence, delicacy —fine, hard pencil, fine pen and ink, coloured pencils -perhaps some chalks or conte? What colour the paper?  White or tinted pink–too twee? Could I incorporate the use of silver on pen?

How could I produce a feeling of life protected -with a hint into human life?Or does  this route seem too descriptive.

What about the background of leaves being made up of images of hands of children like the prehistoric drawings? would that be too “tacky”?

Perhaps I should stay in the realm of delicate pattern and colour.

I have also recently been to Germany and  visited lots of art galleries . One individual  (Jiri Kolar) fascinated me by his obsessiveness. He cut up  paper into small pieces and put them back together in images …this could be a way of representing lace? ref:

Other artists I have recently found that I wish to emulate in one form or another in the final assignment:

Caroline Ali  ref:

I love the way she has used small insects in multiple images to produce a delicate pattern which is more artistic than biological . Her images are very light and delicate with minimal delicate colouring. I note in some of her images she uses silver ink (which is an idea I had had in the drawing of the very silky seed pods) as well as light graphite, black ink and watercolour.

Georgia O’ Keefe (ref:,_1915.jpg

What I love about Georgia O’ Keefe’s images is the manner in which she focuses on an area of a plant to produce an abstraction but retaining an organic feel. I also admire her use of colours which compliment and enhance but do not describe detail, and of her flowing organic shapes

Drawing One Part One review of assessment criteria

Demonstration of technical skills

Materials -I have used wax crayon, ink and stick, ink and pen, crayons, charcoal, pencil and underlying frottage.

Technique-Mark making and tone -Iv’e used pen, crayon and pencil both looslely and precisely, using both the point and the side of the implement. I’ve used strong lines and soft shading, the wax crayon was applied in lines or blocks with the side of the crayon and areas were ironed over grease proof paper (in one of the prep drawings I dripped and spread molten wax crayon on the paper). Shading, I tend to resort to using the side of the implement(except with pen and ink) but am not keen on hatching with a darker implement  pencil or pencil crayon give a nice effect with hatching but less likeable with the charcoal or dark ink as the lines are too aggressive and often too thick. I think the rhythm of line on the celery and leaves of the swede lead the eye and the broken lines of the basket counteract it.

Observational skills –I think I have picked up shapes, tones and shadows, distance apart and negative spaces and the solifdity of the objects–I have not captured the way in which the cloth was folded on the basket (in the coloured picture of natural still life) -it looks too solid.

Visual awareness– HOW IS THIS MEASURED?? Being aware of what you are seeing? Seeing the intricaces in still life? Representing an emotional component?

Design –I have done a reasonably accurate drawing of the still lifes –how is design measured?  (design is a detailed plan for construction or manufacture or An ornamental pattern.  (ref: Perhpas this refers to producing a pattern with the image???

Composition:   ” Composition is the placement, arrangement and organisation of the parts that make up a piece of work. A good composition arranges the shapes, forms and colours so that the art work makes an initial impact and then continues to hold the viewer’s interest. You should feel that the composition is not weighted in one direction or another but that everything is held in perfect balance.” ref:    sourced on line (November 2013 ) from the OCA student page

In the first drawing of natural objects, I think there is an initial impact with the eye being drawn to the turnip’s red purple contrasting against the blue and white of the cloth. The eye then follows the green leaves and then arouund the concentric pattern of the basket.

The black and white “man made objects” still life is initially striking by the contrasting black and white. The eye is initially taken to the reel of cotton and the scissors sticking from its top. The eye then moves to the wool, the bright white paper and finally to the bottle in the left background. I am not sure how this would be judged by others, but I like the composition.

Quality of outcome

Content -to what does this refer? IS it the content of the preparatory work “outstanding work presented in a highly professional way and communicated with flair ” -quote OCA student guidelines

Application of knowledge  “grasp of ideas and communication of visual ideas” ref: OCA student website

Presumably this first assignment should be showing evidence of mark making and tone, using charcoal, lines, shapes, relationships and sizes of objects, production of form, shadow and reflected light, observance of negative spaces and perspective and textures.

I have tried to use a few different ways of mark making. I have observed tone in the formation of shapes of objects and in shadows. Reflected light is not really covered?? but negative space was consciously observed.  In the black and white drawing perspective and relationships of the objects are very obvious, in the coloured picture there is something wrong with the relationship between the vegetables and the cloth and basket, which may be related to the fact that the angle of vision onto the subjects was downward.

Presentation of work in a coherent manner

At present the work is presented in my sketch book in the order in which it was executed (following the OCA book).

Discernment   “Discernment is the activity of determining the value and quality of a certain subject or event, particularly the activity of going past the mere perception of something and making detailed judgments about that thing. As a virtue, a discerning individual is considered to possess wisdom, and be of good judgement; especially so with regard to subject matter often overlooked by others”  ref:

I am not sure what this refers to.

Conceptualisation of thoughts  “the act of creating something by thinking” ” an abstract or general idea inferred or derived from specific instances” ref:

I am not sure what conceptualisation of thoughts means. does it mean trying to get over a way of thinking to an audience?? I can’t say my present pictures are trying to convey anything except pattern and fun (in the coloured picture) and the play of light and dark in the black and white, by using some of the information learnt during the assignment.

Communication of ideas

Again, I assume this means having ideas beyond following blindly the directions in the OCA handbook, does the communication of these ideas mean the preparatory sketches to demonstrate how ideas have developed? I am not sure that I had any ideas beyond reproducing the still lifes….although in one assignment I chose to use colour to help convey the richness of the food matter, and in the other assignment black and white to demonstrate the effect of the sunlight coming through the window behind the objects.

Demonstration of creativity

Imagination –I am not usually lacking in this department –it is a matter of turning it into a drawing.

Experimentation –although I love experimenting, I found the instructions in this and the watercolour course seems to hold back experimentation as I am diligently following instructions.(In my previous career experimentation would have been frowned upon and dangerous so I amtrained to follow instructions to the tee).

Invention –this comes from experimentation

Development of a personal voice  some of my pictures have been said to be “very me”…this must be a personal voice although I am not fully aware of how it is developing.

Context reflection  –I’m trying

Research –I’m trying

Crtitical thinking  What does this mean? Is it questioning how other artists have achieved results?

REMEMBER –totally lost don’t know which way I am going

Tool for reflection—

Document the route by which you have arrived at your final piece of work!!!!—turning subconscious learning into consciousness and so into memory?

Cross reference sections with your assignment work

Record, structure, reflect upon, plan, develop and evidence your own learning and skills development.

A record of what you have learned, tried and critically reflected upon.

Am I being honest? 

Is this a useful process for me? 

Is this helping my own process of learning? 

Put in drawings ( in my sketch book), photocopies—(?downloads from web), postcards, press cuttingnotes on visits to museums and exhibitions. I have a filing drawer full of paper postcards, pictures, gallery leaflets which I do not have the time to scan –perhaps I should go through them and make notes in log if relevant to my work.

Current thoughts on your subject and your enthusiasm for a particular artist   My enthusiasm was at rock botttom but finally having spent the day on art rather than computing it is being reignited.

what am I doing?

1. follow OCA handbook

2. Look at artists

3. Analyse artist’s work in log

4. think about what trying to achieve in own work -? with a mind map

5. draw

6. analyse own work in log

7. analyse visits to galleries or televison programmes on log

8.Anything else? Not recalling at moment

see paper log -(reminder to me to use the log that I find most useful)

Drawing One Part Two review of the advise at the beginning of the assignment 2 what have I achieved?

watch presentation-consider how the viewer is going to see things:.-I have pulled the paper out of the sketch books and converterd them into loose leaves but am not sure how I am expected to present them beyond this except via the blog as they are but exercises not finished pieces.

be experimental in comparing and understanding materials: I have worked on this a little

.more analytical reflection in the log –analytical reflection: researching an artist-

why is their work important to you *************************************

describe the work, lines, marks, shapes, tones ,colours, textures, composition -how do these components help to communicate the impression you get? \try sketchoing diagrams alongside an image when describing it??? ***************************

Collect several images per week and practice the above—i.e formal visual language. *************************************

Stage 2–deepen understanding: read magazine articles, books, reviews, critics, documentaries, exhibitions. Record and reflect on events or experiences which influence how a creative develops their work.    How can we found this information?????

link research to own work

compare and understand the qualities of my material

. Study the form of a piece rather than a quick look

. Don’t just use cross hatching -there are lots of ways to produce marks–not really achieved as stuck with cross hatching or block shading

use different pencil grades–developing

analyse why you can’t do things –trying

Reflect other artists in my work! Analyse why I like artists and explore different drawing styles. not too active in this respect as not really finding many drawers as opposed to painters–need advise on some artists to research.

use a range of “supports”–have delved into other papers this assignment but need advise on what is available

challenge oneself by doing drawings differently when I repeat them…change medium,speed–done some of this

If making notes in sketch book –make them neat and not distracting

Analyse other artists works—see OCA guidance:

“Remember, when you look at art to consider all the main elements that make up a

work of art:

shape, form, space, value (light and dark), texture, colour and line.

Consider the composition. Is it harmonious and unified? What are the proportions

like (the different elements of the composition in relation to each other)?

 How much variety and emphasis is there? Is there a comfortable balance in the work? Is

there rhythm and movement?


Annotating work:

• First describe the art work; this will make you focus on it. You can do this in

your head or make notes on paper.

• Then analyse it, using the tips above.

• Once you have analysed the elements, try to second guess what the artist

intended. What do you think the artist was trying to convey? This is the most

challenging part of looking at art, and is called interpretation.

• Finally, draw your conclusions. This is much more to do with your personal

response to the work. How does it make you feel? What reaction do you have to

the elements and composition? Does the work feed your imagination? Does it

intrigue you or does it leave you cold?” I have done some of this.


Look at references in relation to these topics—WHERE FROM?