Drawing 1 Tutor Feedback Assignment 5

Formative Feedback

Student name Ros Townsend Student number 516187
Course/Unit Drawing 1 Assignment number 5
Type of tutorial Written

Part Five
Personal project and written element
Overall Comments
Thank you, Ros, for submitting Assignment Five of Drawing 1. Overall the work you
have completed for this final assignment is thin and feels lacking in terms of
overall experimentation and critical enquiry. It is important that you demonstrate
things that you have learnt across the whole of Drawing 1 to date as well as take the
time to be much more critical about your work integrating the work of others. I have
outlined in my report a number of things that you need to attend to prior to
submitting work for assessment.

Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome,
Demonstration of Creativity
Overall the sketchbook work for this assignment is better. You are now
managing to work through ideas and try out new materials as you progress. It
was suggested that you outline your intentions for this final part and while
you do outline the reasons as to why you selected the figure for this last
assignment I haven’t really been able to ascertain why you explored this
particular palette other than ‘by chance’. I would spend a little more time
considering what attracted you to your chosen ‘Google image’ (please cite
clearly where this image came from otherwise you could run into copyright
issues). For example, you may wish to look back on your chalk experiments in
your sketchbook where you have presented a great page of colour base
experiments. Were these influential at all? If they were then please spend some
time writing critically around this. You may wish to discuss what you liked and
why, which experiments were successful, and which were not and why you
thought that was and so on. Perhaps you could give other artists colour samples
and put those in your sketchbook such as David Hockney, Howard Hodgkin,
Georgia O’ Keefe. You write around certain artists in your statement. Could
you give visual examples of these in your sketchbook outlining again what
the references were in regard to your own work and so on. It is crucial that
you write much more critically throughout this whole assignment so please
take the time to do this across both your sketchbooks and in your learning
It is important that you recognise aspects of your drawing that are less
successful. For example, the hands are not to scale sow rite about this. The final
image while colourful lacks the depth of form. How could you improve this
tonally for example to ensure that things that are nearer are represented
differently to things that are further away. If it was your intention to produce a
‘flatter’ image, then it is important to say that this was the case and back this up
with examples from artists that work this way so that you do let assessors
recognise your intentions overall. Also try to be more specific about your choice
of using scraperboard. Why was this a good choice, how did this fit with your
intentions and so on. Please try to find a little more time talking through your
ideas in your sketchbook as they are not that evident to a stranger. You have
chosen one colour against a black background…why is this? What is really
important in terms of improving both your visual and critical eye is to allow
you the time to really try to unpack what you like and why. The sketchbook
pages work well, you just need to be a lot more apparent with your thought
processes as they are hidden at this point.
Please avoid general references such as ‘Google Image’ as a visual reference.
As you on a degree pathway it’s really important to reference everything
academically that you are looking at. It is also important to reference well
known artists that are recognised for their talents as well as those that do not
have international renown. It is important also to reference historical artists as
well as the more recent ones. When referencing colour and the figure there are
a terrific amount of well – known artists that you should be cross referencing to
underpin your awareness of the wider culture of studying the figure as well as
the wider cultural references.
At the moment your sketchbook work is better, but the explorations are
limited in terms of experimental pages. Ideally the hours spent on this
assignment should match other assignments as laid out in the student
Personal statement
Your artist statement ideally should reflect both your primary and secondary
research so stating artists names and then saying they were not ‘what you were
after’ is troubling. It is extremely important that you recognise the value of well
know historical and contemporary artists and it should be easy for the assessors
then to see the influences such as palette, mark making, context, composition.
You state that you ‘chanced upon the colour combination’ but need to explain
clearly how and when this happened. It should again bear relevance to your
ideas, development of that idea and outcome. These three things should share
a visual as well as contextual coherence ideally. Please go back and write what
your influences were and write critically around this, removing the ‘by
chance’ references as these are not critical statements.

Demonstration of technical and Visual Skills, Demonstration of Creativity
Overall, the experimental aspects of your sketchbook pages are improving.
Ideally however you should have produced a number of smaller experiments
looking at composition perhaps, scale and form as well as stance. Evidencing
prior learning i.e. work made and reflected upon from previous assignments
would help you appear to be much more informed about the work you have
made for Assignment 5. You have clearly spent time with colour and scale but
have written little about this in terms of what happened and how you
problem solved. Don’t forget that writing around your experience is
important in terms of critical reflection. You do get marked on this at
assessment, so I suggest you go back through your learning log and expand
where you think you haven’t explained to the assessors your thoughts,
critique and analysis of reading images.

Learning Logs or Blogs/Critical essays
The context supporting the work you have made for this assignment is
lacking. While you have referenced artists in your statement the selection is
poor and has little reference visually to your work as it has developed. It is
important that your critical reflect and evaluate upon your own
advancements whilst allowing the work to be underpinned by other artists
work and it is extremely important that you work appears informed by the
wider culture of art and design. Spend time writing much more about what
you found difficult or unsuccessful as well as demonstrate your wider reading
around what you have learnt about specific artists. This is currently absent from
your submission. It is important that in your studies you critique the work in
written form across the learning log, your notes and so on to demonstrate to
the reader that you are aware of specific contexts rather than not writing down
anything about your new discoveries.

Suggested reading/viewing
You have checked your work against the assessment criteria but there is
little if any critical dialogue. Please take the time to step back from the work
and expand your writing about your work and the decisions you made and why
to underpin your ideas as well as demonstrate your commitment to the
development of your studies. There is at present no context. Try to spend time
writing for example, about the figure over history or focus on one or two
specific artists that have been integral to your development.
Pointers for the formal assignment
• Respond to this feedback as I have suggested prior to submitting for the
• Read through all of my reports and make sure that your submission
reflects what you and I consider to be successful work to support your
submission. Include works that you think work well against the criteria
i.e. in context with both primary and secondary research.
• Check what is required of you to send forward for formal assessment

Strengths Areas for development
Sketchbook Your sketchbook is much more visually enquiring this time however it is
important to make a number of experiments before settling down to the final
Knowing the context for your interests
Link the work of well – known or widely published artists to your own work. Do
not copy, just allow the time and space for these to inform your own developing
Responding to tutor guidance
You work well with tutor feedback and guidance. Remain open to this with all
future work as it really pushes your ideas forward. Remember to write much
more about the whole experience from a critical viewpoint.
Tutor name Hayley Lock
Date 22.09.18

Response to tutor feedback

Hi Hayley,
Thank you for your report.
I’ve read it briefly and wish now I’d applied for an extension as I have my painting module. However hindsight is a wonderful thing and as I do have time before submitting for assessment (March) I shall be spending time on all the points you make. 
With regards assessment, am I able to ask for your opinion on my choices or is this now where your support ceases?
Hi Ros

Thank you for your email. Unfortunately I am not able to tutor you as you have now met your deadline. Ordinarily I do if you have time left. The best thing to do is take a good look at my feedback which highlights the stronger work and take time to play around with more experimental ideas particularly with assignment 5 as you have time. If it were me I would look at a number of artists, read wider around portraiture and then make a number of extended studies as I have suggested to really fill that final assignment, you have time to do this and you can state that this is what you have done as a result of my report recommendations.
Good luck, select carefully showing discernment as you put the work together for assessment and label things clearly as well as present things cleanly on card as per the assessment instructions.
Best Wishes

Drawing 1 Tutor Feedback Assignment 4

Formative Feedback

Student name Ros Townsend Student number 516187
Course/Unit Drawing 1: Drawing Skills Assignment number 4
Type of tutorial Written

Overall Comments
Thank you, Ros, for submitting Assignment 4 for Drawing 1. You have clearly worked
very hard at this assignment and you have made some significant leaps in
understanding and portraying the human form. There are still some areas that I
would like you to consider and so I have written these up in my report below.
Assignment 4 Assessment potential
I understand your aim is to go for the Painting Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of

Part Four
The figure and the head
Project 1: Fabric and form
You start off well by looking at and depicting fabric well through both line and tonal
values. You have given the drawing form and have an awareness of light and dark. Make
sure to take good clear photographs to help you see and understand the form
however wherever possible always draw from the object that is in front of you.
You have managed to capture light well with your drawing of fabric around the human
form. Remember that the mid tones are as important as the dark and light tones so
don’t overlook them when making this type of drawing.

Project 2 Proportion
Exercise 1: Quick studies
Exercise 2 A longer pose
As you move through this exercise you grasp tone firmly by the hand to depict
volume. It is important however to map out and get the proportions right before you
start to add any information and for this drawing whilst very dramatic to look at could
have benefitted from a little measurement as the head is small and the torso a little
long. The second drawing suffers a little bit from this too although the light and the way
you have handled tone here feels confident and assured.

Project 3 Form
I have concerns that you are using the Internet as a source to draw from so where
possible avoid this way of working as you will get much better drawing from
working in front of your subject. In terms of foreshortening you have managed this
well I am just concerned that these images mustn’t be copied for this type of
assignment. The challenges of looking and seeing will push your work on as well as
understanding much more so don’t be afraid of making mistakes. To the professional
eye these feel very different from the ‘real’ drawings and assessors will be aware of this
so be careful.
Your drawing from the life class is much more ‘real’ to look at. You are looking at the
connecting parts and having a much better experience from measuring overall. Try if
you can to make confident marks when drawing and move away from the sketchier
‘fluffier’ mark making that can happen when we are out of our comfort zone. Instead
look hard then draw a line, look again and so on.
The drawings you have made for stance and in particular energy have been quite
successful. In particular you seem to manage drawing two models very well. The
interconnecting forms are well observed and rendered, well done.

Project 4 Structure
Exercise 1 the structure of the human body
Drawing from a life drawing class makes a lot of sense with this assignment so never
apologise for it. It is clear at this point that you are developing an awareness of form as
you move through the drawings. You are feeling more confident about foreshortening
so keep practicing this as it can be very difficult to do and always remember that you
can draw the negative rather than the positive if it helps plot and plan aspects of your
subject. The drawing ‘lounging figures’ is by far the most successful drawing in this
whole submission. The figure on the right in particular is in proportion, lit well and
you have been very assured with your line and tonal work here. I would recommend
l=taking a look at this again to remind yourself of the line work and direct way you
have used tone. Keep working like this to develop more confidence in your drawing
abilities. The stance, weight and volume, stance and so on, placing the figures in the
environment convinces the viewer of what they are looking at, very well done here.

Project 6 The Head
Exercise 1 Facial features
Exercise 2 Your own head
You start off well working with making some quick studies and then as you move
through a number of drawings it is clear that the sense of likeness is coming through.
Make sure that the proportions are right and come together also as a whole when
working through. The drawings of your model from memory feel confident in terms of
mark making and tone however remember to be sensitive where needed in terms of
marks. Sharpen your drawing medium when needed and work through the range of
tones available with charcoal remembering to use the mid tones at the same time.

Research point Artists self portraits
Good research however try if you can to write a little more critically around the work.
Talk about the palette, marks, colour, composition. Extract as much information as you
can when looking closely at the work of others.

Assignment Four
Two large figure studies and a portrait/self portrait
Always take a lot of time with your preliminary work. Think carefully about the figure
in its landscape or surrounding space and take time to play around with your drawing
materials to see which ones will enhance your subject to its greater affect. Working with
gel pens and fine liners are often overworked, flat and don’t really have the capability to
produce an interesting drawing in terms of broad and narrow marks, tonal variation and so on so I would avoid this for a while until you feel much more assured with your
drawing. That said the figure you have drawn is in proportion and you do get a good
sense of volume overall. The tonal drawing for me again could have benefitted from
more exploratory preliminary studies. Placing your figure firmly on a sofa in a
domestic setting could have been hinted further at in order for me to get a better
sense of ‘the whole’. Always look for artists work that is similar to help. There are a
multitude of works that use the figure in the landscape so always take a bit of time to
emulate their techniques and materials to see if they can bring anything of interest for
you to an image. The limited colour palette has helped you focus more on the figure and
its surrounds. Overall this reminds me a little bit of Paul Rego’s work and perhaps Diego
Rivera a little, in terms of volume and stance. The facial tones are well observed
however aspects of these do get a little lost in the torso however the foreshortening
here is well executed. Your drawing of your husband depicts the environment better
however it does feel a little illustrative and slightly cartoon like in places. To some
degree this drawing feels like it could be worked on further as the tonal areas feel a little
under resolved.

Demonstration of technical and Visual Skills, Demonstration of Creativity
I would encourage you to use your sketchbook much more and with more freedom. You
should ideally be exploring mediums, processes and techniques in here, annotating,
playing and making mistakes. At the moment it feels more like you dip in and out of it
so perhaps think more about whether you would work more often in a larger
sketchbook perhaps? Take a look at artist’s sketchbooks for inspiration, there are a lot
of examples out there to help.

Learning Logs or Blogs/Critical essays
It is quite difficult to navigate through your blog as it needs subheadings to find
specific exercises within each section of Drawing 1. At the moment it is presented in a
way where the most recent work is seen at the interface and I have had to scroll through
large amounts of work to find what I need to look at. Please take the time to do this as
the assessors will not have the time to do this and you need to present your work as
clearly as possible to get the full benefits. The work throughout however is presented
well, and it is clear that you have worked very hard at this assignment. The research
is thorough, and you are referencing appropriately. Remember that when analysing
artists research don’t be afraid to demonstrate your own voice clearly within it. Be also
mindful that you must seek images and analyse the work of particular contemporary
artists in your learning log. Egon Schiele is not a contemporary artist as the rule of
thumb here is artists that have made work in the last 50 years. Jenny Saville also needs
to not be the only living artist to reference as you are now studying on a degree. See if
you can go and see some exhibitions to find out whose work you like and whose you
are less keen on. Be careful when making statements about contemporary art. Make
sure it is backed up with appropriate referencing as you have done with more historical
artists. Also move away from Wikipedia as it is an unstable resource. Make sure that
your references are from more academic places such as books, journals, theorists or
better known gallery websites rather than lesser known artists and solely the internet if
you can as it will make your own enquiries more rigorous.

Suggested reading/viewing
Take the time to work more in sketchbooks and organise a bit of time to sort out the
learning log so that it easier for your viewers to find things more easily. Take a much
closer look at contemporary artists as well as visit exhibitions to really see art in the
flesh. These will be crucial things to put in place for your next assignment.

Pointers for the next assignment
Strengths Areas for development
Tone, dramatic effect. Try to work with the mid tones too.
Researching historical
Add many more contemporary artists to extend your
knowledge. Go and see exhibitions for primary research.
Work well on loose
and large paper
Work much more in terms of preliminary sketches in a

Tutor name Hayley Lock
Date 19.05.18
Next assignment due 30. 08.18

Response to tutor feedback 19/5/18

Hello Hayley,

Thanks for your email and report. 
I do feel I have made bigger strides through these exercises and assignments. I agree about your comments regarding some of the tone however I did notice, as I was packing them up, that some of the tones had changed and I think this was to do with how I was storing them and the type of fixatives I was using; I’ll make an extra effort to store them more securely.
I also agree about the research evaluations although I do feel I’m making progress here – however small. Also regarding the learning log, I’ll get some help to reorganise it. 
Kind regards,

Drawing 1 Tutor Report Assignment 3

Formative Feedback

Student name Ros Townsend Student number 516187
Course/Unit Drawing 1 Assignment number 3
Type of tutorial Written

Project 3 Expanse
Overall Comments
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of
Thank you for submitting Part 3 for Drawing 1. You have worked hard at organizing
yourself, your blog and your submission and it has paid off in dividends. This
assignment has been much easier to follow and you seem to be settling down now into
working more coherently and with some degree of confidence.
You have managed to produce a sense of self – directed study through these
exercises and final assignment. This has been evidence well throughout your
sketchbook work, your learning log and final drawings. Your sketchbook work is
enquiring and exploratory in terms of investigation. Now take the time to explore nonart materials in pursuit of what you enjoy drawing to add context to your work. Where
you work directly and speedily in front of the landscape you are the strongest. Your
mark making and direct emotive response feels key to the more successful outcomes.
Where you are weakest is where you try too hard to fill the remit, so step away from
this and trust your instinct to succeed.
Keep looking and take the time to slow down and observe before making a mark. This
will help you make decisions prior to execution, something that will make your work
easier to handle, then feel free to escape into the more expressive aspects of your
drawing. It’s a balance that will take a little time but will help you get to grips with your
Start to bring yourself into the exercises and make exciting and enigmatic drawings
wherever possible. At the moment, this isn’t coming through so start to develop this
through small experiments in your sketchbook to give you confidence. The work is
where the enquiry is, the idea is not to resolve it, as this is when work often becomes
stilted. This appears to have happened in your final assignment piece but is quite
normal at this stage for students to try too hard at obtaining a ‘finished drawing’. Start
if you can to cross the course exercises with your own enquiries. This isn’t something
that is asked of you but is instead something interesting to bring to the work making it
Project1: Trees
Exercise1: Sketching individual Trees
You have made a good start keeping the parameters of the trees in boxes on one sheet
which has made you consider sizing down in this instance. There are some very straight
forward results here. Don’t be afraid to alternate your drawing media as you go through
although I can see that this ink has behaved itself much better.
Exercise 2: Larger observational study of an individual tree
A very energetic study which works well on this sized paper as you have managed to
allow it to bleed off the edges confidently. Be aware of working exclusively in line with
one sized nib. Build up textural qualities by overlaying more lines to create depth or
alter your nib accordingly. Be aware too of your light source as there is no evidence in
the first drawing of which direction the light is coming from. Think about how you can
extract the information in front of you with the most appropriate mediums. This can
change i.e. you can mix different softness’ of pencils, make thicker markers with garden
canes or sticks or introduce drawing with a wet medium by way of a brush. Mix things up to inform more creative outcomes as often as you can.
Your second drawing is better as you have really studied the texture of what is in front
of you and altered your drawing to make more varied marks. This is a lovely study so
well done for developing your initial idea further with a degree of success.
Exercise 3: Study of several trees
It is easy to see that you have really studied your subject through your written
commentary on your blog. You have managed to unravel this complex scene well
through starting off with a study in your sketchbook. Keep doing this as often as you can
as it gives you time to bed into your studies as well as get to know what it is you are
looking at and problem solving. You have managed to edit the scene well and aspects of
the bottom of the image brings an interesting composition. I am not that keen on
introducing the fine liner as I am not sure if it brings anything to the image. Using a light
tone as you have underneath is much more successful so if you wish to add line in places
make sure you look and then decide which colour, tone or hue is the most appropriate
to the subject at that time, light being crucial in the decision making process.

Project 2: Landscape
Research point: Research artists that use landscape across time. Albrecht Durer,
Claude Lorrain, L.S. Lowry, George Shaw and Sarah Woodfine.
Again, through your blog content you are really unpicking the scene within the images
you have selected. It is good to see that you are asking questions of the work at the
same time, very good. When you take another look at Lorrain’s drawing look at the lines
he has introduced here in terms of varying thicknesses, broken lines, lighter lines. This
will help you enormously to understand that looking and depicting is multilayered in
that regard. Good research, keep going.

Feedback on the previous report.
In terms of experimental drawings, you can either work in sketchbooks or on loose
sheets. When it comes to assessment you can always point out areas that are in your
sketchbook in support of your final drawings. As long as everything is clearly laid out for
assessment then you don’t have to cut these out for mounting. If you have them on
loose sheets then of course there is the possibility that you can choose and mount easier
but then you need to make sure you are organized keeping them as you have for his
feedback at this time. There are pros and cons to working either way but in essence it’s
all about organisation and leading your assessor to the work that you wish to be
considered for assessment with relative ease. Yes, examples of your developmental
work should be on your blog. Talk to the office about changing your pathway options.

Research point Vija Clemins
Good sound critical reflection on the work of Vija Celmins with supporting images well
done your research is improving.
Exercise 1 Cloud formations and tone
You have produced some very ambitious and varying studies on cloud formations and it
is good to see such a range that have been handled with competency. The colour work is
both complex and well executed. They look better in life than online, so well done. I was
excited to see that you have then gone on to research further coloured grounds. This
has been a well-documented and executed exercise.
Exercise2: Sketchbook walk
Again, I like the scale of these drawings. Where you have used coloured pencil you have
managed to execute some lively and honest drawings. I like the mark making in the
study you have done with the gnome and the way you have handled the negative space
in the study of the water pump (plants in the foreground), working quickly seems to free
you up so consider bringing aspects of this into your work as often as you are able.
Exercise3: 3600 studies
These sketches really stood out to me as being the strongest work in this submission.
The overall balance of the composition, the editing, format, mark making and above all
space that has been left makes these a strong series of small drawings, well done.

Project 3: Composition
Research point: Monet, Cezanne, Hockney, and Nicholas Herbert.
The research on Doig is much better and more involved than the others, this may just be
down to your interests but do try to spend time looking and extracting information from
the other images to gain more knowledge about process as and when you can. Where
you have been more involved your research is solid. If it helps look at the exercises that
follow on from the research point and make your analysis fit to make the exercises
easier to absorb.
Exercise 2: Foreground, middle ground and background
In this image, it is clear that you have delineated areas to ensure that the scale and
format fit with your selected composition. Breaking the image up into vertical and
horizontal lines brings the viewer in to read the image with some degree of ease. The
drawing for me is a little over explained and feels quite illustrative but in terms of mid,
fore and background the foreground works well, the hedge to the left makes sense but
the large tree on the right doesn’t make sense in terms of detailing when looking
beyond that at the house. As things recede the tree needs to be a little more tonally
variable and the house less so. Take another look at this to see if my statement makes

Project 4: Perspective
Exercise 1: Parallel perspective – an interior view
It is good to see you get a sense of perspective through studies in your sketchbook. The
larger drawing is managed well through line and tone. The skirting board nearest to the
radiator in the foreground bends in slightly hence the slightly ‘wonky’ look that you
describe. You have handled the tonal qualities well through looser mark making to give
emphasis to the softer or perhaps lesser detailing such as the door handle. This works
well. When you draw in your sketchbook only draw on one side (the right) and then
should you wish to extract these for assessment then there will be no drawing on the
back to interfere with the visual. Whilst this means that you will take half the time to fill
up a sketchbook this is normal practice so that there is no bleed through with anything
onto the reverse of each drawing. This drawing has some degree of success in what can
be seen as quite a complicated set of rules in terms of vanishing points, horizontals and
so on.
Exercise 2: Angular perspective
You have grasped this well through working through a set of small studies in your
sketchbook, well done. Checking with a ruler when needed is good practice so this is not
a problem.
Exercise 3: Aerial or atmospheric perspective
I am a little unsure about the medium you have chosen for this exercise but that said the
second drawing is better than the first. Overall, they do look quite naïve and clunky
compared to other drawings you have made.

Project 5: Townscapes
Research: John Virtue and others
You have submitted good research again looking at Virtue and Tacita Dean. Your
critique and reflection overall is expanding well.
Exercise 1: Sketchbook of townscape drawings
Your studies are thorough but again look a little clunky in terms of handling your pencil.
Don’t forget what you have learnt to date and apply some of that knowledge to your
studies. Think about the delicacy of line, the material to draw with, perspective, line and
tone. You rely too heavily on line as I am assuming this is when you are most
comfortable but for me your tonal referencing brings something else to the page.
Exercise 2: Study of a townscape using line
Whilst you have grasped at a complex scene you have handled perspective well overall
in terms of the streets of houses that flank this central building. There are areas that are
questionable such as the sloping platform to the right edge of the building that appear
to be wrong and lacking in form overall. The dip pen in this case is a little over used
which makes the image feel overall very flat. Try to remain as engaged with looking as
you can be. At times, I think you run into danger when you ‘fill in’ almost unconsciously,
which then makes your drawings feel more childlike and naïve that they should be. You
clearly have spent a long time on this study, try not to fill all the information in. Our
brains will join up the blanks which makes the work much more stimulating to read.
Exercise 3: A limited palette study
Not your best drawing to date as it feels like you have drawn in the outline and the filled
the rest in which gives it again a very naïve and childlike look to the overall composition.
Try to connect the information to the lines as you go rather than compartmentalize
things as an illustrator may choose to do as this is not your strongest approach. There is
little tonal variation going on here which is a bit of a shame. The second drawing is
better but again feels a little underwhelming in terms of a completed drawing. Think
carefully about texture and the interconnecting image that you are looking at. This all
seems a little flat and not that interesting to me.
Exercise 4: Statues
These are improvements on your last drawings as again tonally these objects have form
and strength in their execution. The drawing looking up beneath the head of the statue
is particularly exciting to look at. Not all the information is present and the viewpoint is
unusual, all ingredients to make for a good drawing in my opinion. The subsequent
drawings that you have pursued have been a solid enquiry for you in terms of tone. A
little over explained in places (you don’t always have to fill everything in), it is clear that
you have learnt a lot, well done. Developing your knowledge and skills base is really a
worthwhile pursuit, well done.

Assignment Three
There is something very charming about these quickly executed coloured sketches that
you manage to do before settling down to a larger drawing. Your initial studies are
vibrant, you manage to get a good sense of composition by introducing in part aspects
of your garden that hint at what is present and overall you command the watercolour
pencil well, adding a good sense of colour and tone in as you work forward. Like I said
earlier they have an honesty to them and I would encourage you to make more as and
when you see their relevance within your studies.
You have managed to document the process of making your final drawing well on your
blog. You are supporting these with easy to follow annotations as you proceed. The
image that you have on your blog where you focus on the bricks of your home with a
block of unfilled ground really focuses the eye onto your subject. The ‘unfinished’ feel to
this is really rather captivating. It is easy to read what is in the mid ground at this point.
When you start to fill in with the foreground, things then become a bit muddled. The
eye still focusses on the brickwork and the red foliage appears hazy and ill defined. As
this is what Is also present towards the background on the right there is conflict.
Ordinarily the detail of the creeper would be more defined and in focus and while you
have done this more with the delphinium the black outline feels foreign against the rest
of the image. I would try to not add this as it becomes a distraction rather than part of
the whole. Think again here about your light source. Find where it is coming from and
act upon this by introducing the correct light or dark areas appropriately. This to me is
when the main focus gets lost. This will come with practice and understanding.
Compositionally you are producing interesting and considered images, now consider
light in more detail at every turn.

Demonstration of technical and Visual Skills, Demonstration of Creativity
Your larger A3 sized sketchbook is taking shape. Where you have delved in deeper and
developed an idea or thought, this is where the sketchbook is the most interesting and
promising. Get into the habit of working in this scale from now on. Work in there for
each exercise as often as you can. Your colour investigations are key to pulling the
whole thing together. Remember to work only on the right-hand side of the sketchbook
so that each drawing doesn’t get contaminated by the previous work.

Learning Logs or Blogs/Critical essays
Your learning log is much better organized, in depth and articulate. You are reflecting
well on each part and have started to really get under the skin of what is relevant in
terms of research, both personal and artists research. Consider extracting some of this
information to put into your own work where appropriate to extend and impact of your
own working methods. You are beginning to extend and widen your enquiry into

Suggested reading/viewing
Take the time to visit a range of exhibitions in support of your studies. This will help
you continue to consider your materials and widen your approach to drawing. Think
carefully about what drawing can be for your next assignment. Don’t always use
traditional drawing materials to draw with…try lots of other things particularly things
that are in context as this will be a new challenge.
Pointers for the next assignment
Your next assignment is ‘The figure and the face’. Look at the work of these artists in
order for you to become more fluid in your approach to drawing. Gustave Marchetti,
Egon Schiele, Ron Muek, John Currin, Otto Dix, Ana Mendieta, Sam Taylor Wood,
Tracey Emin, Hope Gangloff.
o Continue to take more risks with your drawing, particularly in context.
o Read wider in support of your studies, buy or borrow at least one book from the
reading list.
Strengths Areas for development
Quick contained colour sketches where you work directly in front of
your subject.
Consider working further with tone, you can do this quite
naturally so embrace this and look at artists that do this at
the same time. Recognise your ability to work in colour
Cloud drawings – these were strong. Where
you edit (360 degree drawings) the work
Move away for over filled drawings. Take the time to
take stock and decide when to stop. Less is often more.
speaks for itself.
You are analyzing images confidently. Think about what you like drawing and read more around
your interests in terms of working now.
Your drawing skills are competent and will
develop much more with more
understanding of what it is you enjoy about
Look further at contemporary Drawing should you decide
to change to the degree pathway.
Tutor name Hayley Lock
Date 27.10.17
Next assignment due 05.01.17

Response to tutor feedback  27/10/17

Hi Hayley,

Thank you for your feedback.
While you have my pieces there perhaps you could answer a couple of queries please?
Do you think the colour sketch of several trees would be assessment worthy?

The line townscape – I’d also thought about this as assessment material – would adding some very diluted ink wash add some depth?

Finally, my assignment piece – yes I could have kicked myself for putting the delphinium in but it seemed like a good idea at the time. I quite like that piece and I did work hard on it – do you think that covering that area with acrylic and reworking the creeper with far more detail and light aspects would enhance it – thinking assessment again?

Kind regards

Hi Ros,

While it is natural to consider assessment as you work through I would wait until you get through the next few assignments before making any decisions. What you can do now for formal assessment is select a body of work that you think is your best work (not necessarily examples from each assignment) and you may have not even dreamt let alone made of any of these as yet!. Try not to get too hung up on assessment, instead focus on challenging yourself, addressing my feedback and making new and exciting informed work. Students do much better overall by putting the pressure of assessment to the back of their minds and concentrate on enjoying the work. If you feel freer then the work will naturally be better. For example, you could select a number of those small quick sketches as one assignment piece, even if they are not the ‘final pieces’….as you get closer to the end point we will look back at the whole of your work and select through discussion the work that looks the best together. Put these concerns on hold for now and it will pay off, often later work becomes more coherent, so hold on…you will just need to trust me with this. I hope that feels okay with you?
Best Wishes

Drawing 1 Tutor Report Assignment 2

Student name Ros Townsend Student number 516187
Course/Unit Drawing 1 Assignment number 2
Type of tutorial Written

Formative Feedback


Part Two: Intimacy
Overall Comments
Thank you for submitting Assignment 2 for Drawing 1. You have clearly worked
hard and with rigour for Assignment Two for Drawing 1 and have made some well –
considered developments on a personal level in all areas of your studies.
Your weakest area is organisation. It has taken me a long time to sift through the
work and try to find your developmental drawings against final pieces, your
research and the timeline of the work you have made. It is important at this stage
that you take a step back and try to organise the work so that I can follow it with
ease. This will help you arrange and organise your submission at a later date for
formal assessment too.
It is good to see you embrace the compositional aspect of your working exercises
as well as develop more sustained colour experimentation across this assignment.
You must work consistently in one sketchbook rather than jump around. You have
taken on new challenges in regard to looking, seeing and understanding tone and
composition throughout this assignment.
Your overall drawing skills have gained momentum but it is important to try and
work in an open – minded way to get the most out of each exercise. It has been
good to see some additional life drawing as this has added to your knowledge base
in terms of drawing. Keep practicing and all of this work will come together. These
new figure drawings feel much more mature than your earlier drawings so well
done with those.

I understand your aim is to go for the Painting Degree and that you plan to submit your
work for assessment at the end of this course. From the work you have shown in this
assignment, providing you commit yourself to the course and reflect on my comments, I
believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in  my feedback. 
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of
Research Point: Traditional approaches – 16th/17th century Dutch painters, 19th
century, modernist painters, and contemporary painters
I got a bit lost again on your blog as the Drawing 1 Still Life research appears next
to the Painting 1 research. Try if you can to sort this out otherwise the assessors will
not have the time to navigate through the content quickly.
You have started off well by analysing Dutch still life and Vanitas paintings, both of
which have sound written analysis of the symbolic nature of the objects within
each painting. Be mindful of swooping personal comments. Try instead to write
from more than one perspective in your log as things will appear more professional
overall. The contemporary selection of artists that you have selected is wide –
ranging and varied. Think about how they could influence your work in the future.
Positive and negative space
Research point: Gary Hume
I can’t seem to find any research on Gary Hume but I can of more contemporary
artists such as Catherine Yass. You have picked some good examples here but
Deviant Art unfortunately is not an academic reference point. Try if you can to find
artists that have more of a recognised exhibiting past either in mainline gallery
spaces or recognised publications.
Project 1 Detailed observation of natural objects
Exercise 1 Detail and Tone
I hope that I haven’t missed the preliminary sketches for this drawing, if I have then
I apologise. What I have found is the final drawing and you have managed to
observe and illustrate what is a complex still life to some degree of
accomplishment. The tonal detailing has added to the depth of your composition
and although areas such as the jug seem a little detached and flat the textural
aspects of the cones in particular are well executed. You have started off extremely
well by experimenting with texture, form and cross – hatching within this drawing.
A range of outcomes that are both experimental and sensitively rendered could
have strengthened your approach, so please take the time to try a number of
smaller experiments before settling down on the final piece. You have managed to
build some great mark making into the final drawing and have considered the
weight of your object in its surrounding space. Good solid analysis in your written
learning log supports the outcome, well done.
Project 2: Still Life
Exercise1: Still life using line
You have produced a number of well – observed studies for this exercise. Think
about attempting to draw the objects to a number of small – scale compositions
trying out varying viewpoints and media before settling down to your final piece.
The final piece is a little swamped by its heavy background and unfortunately the
necklace gets lost overall compositionally because of this. Perhaps if colour could
have been used the reflective quality and tonal variation and depth would have
been further emphasised?
Exercise 2: Still life in tone using colour
You have produced a range of experimental outcomes for this exercise and have
reflected well on each one. The first drawing reflects blocks of tones better than
the other two as it is a lot less linear overall. I understand that you got confused
with what was expected of you for this exercise and this is demonstrated in the
following two preliminary sketches. The composition is not bad in terms of scale
and the placement of the objects on the page. The last and final drawing feels
more resolved in terms of tone. The depth held particularly with the fruit works
well although lighter aspects could have added even more form overall. The
colourways used gives a confident feel to the overall composition, well done.
Exercise 3 Experiment with mixed media
This final mixed media drawing has a good sense of composition and form. The
roundness that you have managed to achieve with the onion in particular holds its
shape and volume well. Further work on the other fruit adding more tone could
have allowed these forms to add a more substantial form and I would agree that
using a much better quality of paper or support could have enhanced this to
greater affect. The lightness of touch with the fabric and background has allowed
the still life to come to the fore and the looser marks here have not been
overworked which adds to the overall composition.
Exercise 2 Monochrome
This to me although less successful in terms of placement on the page, feels much
more resolved in terms of tone and depth. There are distracting areas such as the
area above the teapot spout and the unusual balancing on the teacup but overall
the weight and volume of these objects have been executed with some level of
success. Using a limited palette has allowed you to not over confuse the rendering
of this composition, well done. Take care to read all of the exercise instructions
carefully. Think about taking the time to research work that is similar to this to help
you further understand tone and composition in more detail. You can always add
these images to you blog to help you further analyse your own work against it.
Project 3 At home
Exercise 1: Quick sketches around the house
You have produced a range of studies looking closely at composition that have
allowed you the chance to really look and understand your immediate
surroundings. Try not to use ballpoint as it is such an unforgiving material. Instead
look at using a range of pencils, working both lightly and heavily and on their sides
so that you can investigate tonal aspects as well as the more linear. Always think
about how to reuse some of the techniques you have learnt so far and adapt them
to fit. This will show that you are working reflectively and that your brain is building
on previous experience. Good annotation throughout, you are clearly looking hard
at your subject through these series of studies.
Exercise 2: Composition – an interior
Compositionally you have produced some very extremely viewpoints. The use of
colour here works well and these snippets of drawings feel confident and
knowledgeable. A favourite of mine is the blue study. I like the way you have
altered the weight of your pastel crayon dividing areas up using the simplest of
ways. There is good depth achieved here, keep going.
Research point Anthony Green, Philip Pearlstein
Good reflective research, so well done. Don’t be frightened to centre yourself in
your artist’s research discussing aspects that you enjoy or dislike in good measure.
Compare to work of others and start to really get a sense of who you are in your
research in terms of personal voice, just remember to be academic in your writing
when reflecting on your findings.
Exercise 3: Material Differences
You have managed to complete a competent drawing here, reflecting on previous
learning such as negative space, positive space, tone and light. The limited palette
and mix of linear and tonal qualities always makes for a strong drawing. The
framing of the composition within the rectangular form of the page works well.
You have managed to fill the page with an element of confidence. While there are
areas to improve on such as perspective (always difficult to start off with) the tonal
aspirations of this drawing work well as a whole as you have gone back and added
at a later date.
Assignment Two
The presentation of this final assignment on your blog is very well considered and
thought out. This time you consider more possibilities by producing a number of
studies and varying compositions. You problem solve well as you go through the
process and reflect upon this in your account on the blog. With the addition of the
very dark tonal area beneath the table top this grounds the whole composition to
better affect. This brings the flowers more to the foreground and knocks back the
drawing board to the mid ground and the dark area behind that allows for the
easel to feel pushed into the corner with success. Whilst working from a
photograph as a n aide memoir be aware that this can often produced flat
outcomes. Well done for producing this drawing, it feels like you have learnt a lot.
You have written up a good reflective account of the journey made.
Demonstration of technical and Visual Skills, Demonstration of Creativity
It is important that you use your sketchbook chronologically, working in one place
(I suggest an A3 sketchbook) at a time linking exercises up and building on
previous experience as you have done in the final assignment. At the moment you
are dotting around from one sketchbook to another and again I have found it
increasingly difficult to follow. It is important that you don’t remove pages, find a
sketchbook with good quality or interesting paper that is versatile and add things
in there that are interesting to you. In here you should be taking risks, trying out a
wide range of material and extend much of your creativity visually in new and
exciting ways. They should be full, investigating and exciting for any viewer.
Learning Logs or Blogs/Critical essays
Your learning log is well written and critical throughout but is hard to follow easily
as it follows a timeline rather than being set into subheadings. You are starting to
be more analytical in your approach but this needs to start to extend into your own
personal interests and outcomes as you work throughout the whole of Assignment
2. Try to write from a more critical viewpoint. Think about writing about what
hasn’t worked as well as what has and try to discover why. Start to connect your
ongoing personal research to your own creative output if you can.
Suggested reading/viewing
Part 3 is titled ‘Expanse’. Look at the artists I have listed below to add to your own
personal research. Try to get to see at least one exhibition that looks at landscape
and drawing outdoors. This may help when venturing outdoors in order to get a
greater sense of what landscape can be
Edward Burra
Paul Nash
Eric Ravilious
William Turner
Catherine Opie
Thomas Girtin
Arthur Melville
David Hockney
Georgia O’Keefe
Wade Guyton
Pointers for the next assignment
Try to remain open minded to the sensibilities of ‘expanse’. Work through all
aspects of your studies through new and exciting developmental and creative
viewpoints. These experiments should happen across the pages of your
sketchbook with more regularity. Try not to pick up a pencil in the first instance
unless it has a purpose and look at the wider remit of contemporary drawing to
help. Look at places like The Drawing Center, The Drawing Room and C4rd for
Tutor name: Hayley Lock
Date 05/06/17
Next assignment due 10.09.17


Response to Tutor Feedback

Response to feedback Assignment 2


Hello Hayley,

I’m sorry not to have replied sooner – please don’t think I haven’t been doing anything .

Thankyou for your feedback – both rewarding and constructive when read. I would like to comment on and ask questions about some of the areas where you felt I am weaker and will be endeavouring to work on these:

‘Your weakest area is organisation. It has taken me a long time to sift through the

work and try to find your developmental drawings against final pieces, your

research and the timeline of the work you have made. It is important at this stage

that you take a step back and try to organise the work so that I can follow it with

ease. This will help you arrange and organise your submission at a later date for

formal assessment too.’

Yes I agree. Trying to work 2 different modules at one time, on one blog,  is proving this to me now. From now on everything to do with Drawing 1 will be in the Drawing section of my blog. 

‘Your overall drawing skills have gained momentum but it is important to try and

work in an open – minded way to get the most out of each exercise.’

I have to admit, I struggle with ‘open-minded’ and do try to be less ‘safe’. It is something I will be working on – I think I might find this easier to develop in Part 3 because of the less formal subject matter.

‘I got a bit lost again on your blog as the Drawing 1 Still Life research appears next

to the Painting 1 research. Try if you can to sort this out otherwise the assessors will

not have the time to navigate through the content quickly.’

Yes I understand but the research will now appear on the Drawing section, I’m going to try and delete the research and assignment section as the latter refuses to let me put anything in it, this should tidy up my site.

‘Try instead to write from more than one perspective in your log as things will appear more professional overall.’

I get what you mean, I have just been reading ‘How to write about Contemporary Art’ by Gilda Williams which is quite forthright about what is required; I hope will assist me with this in future.


‘I hope that I haven’t missed the preliminary sketches for this drawing, if I have then

I apologise.’

Sorry, I was so eager to get on with it, I completely forgot about doing any.


‘A range of outcomes that are both experimental and sensitively rendered could

have strengthened your approach, so please take the time to try a number of

smaller experiments before settling down on the final piece.’

I know what you’re saying; it’s the open – minded thing again!


‘Compare to work of others and start to really get a sense of who you are in your

research in terms of personal voice, just remember to be academic in your writing

when reflecting on your findings.’

I’m becoming more ‘aware’ of other artists and styles through my research and study visits. I think what I have found difficult is that the research in Drawing 1 – Part 2 is virtually identical to that of Painting 1 – Part 2 and in all honesty it felt like I was having to repeat it, consequently the initial shine began to rub off the second time around. In Parts 3 and 4, the topics are reversed so I hope to show a more academic style.



‘It is important that you use your sketchbook chronologically, working in one place

(I suggest an A3 sketchbook) at a time linking exercises up and building on

previous experience as you have done in the final assignment.’

To be frank, this is the part with which I am still struggling. It has only just dawned on me that I need separate sketchbooks for each module – one for Drawing 1, one for Painting 1 so this will happen and it may mean that some of my smaller sketchbook works may get moved across into the bigger book to show chronology. Also, I need clarification on the following:

  • Should I put all my experimental drawings for my exercises in my sketchbook? I ask this because on the drawing forum some pupils have needed to mount these at a later stage when going for assessment.


  • Should I be putting all the experimental drawings on my blog along with my exercise piece?


‘Try to write from a more critical viewpoint. Think about writing about what

hasn’t worked as well as what has and try to discover why. Start to connect your

ongoing personal research to your own creative output if you can.’

I agree I need to do this. Academic writing has always been a weakness but I feel that up-levelling my research time will assist me with this.


I hope you can answer my few questions for me so I can continue my studies more effectively.

At the moment, I feel I prefer the Drawing more than the Painting; if I pass both I may consider changing my degree pathway.


Thanks once again for your help.


Kind regards,

Ros Townsend


Drawing 1 Tutor Report Assignment 1

Formative Assessment

Overall Comments

Thank you for submitting the first assignment for Drawing 1. It is clear that you are fully engaged in your studies and you are starting to gain confidence in your own voice and ability both visually and creatively. You are working well in terms of evaluation and reflective accounting around the work made but more in depth evaluation is to be developed for the next assignment when describing your own work. Continue to support your own work through visiting exhibitions and researching the work of other artists in support of your studies. Don’t be afraid to write up your thoughts in your written evaluation of each exercise if and when appropriate.


I have identified a small number of things that need to be considered in my report but otherwise this submission is solid and personally challenged throughout. It is clear that you are taking some elements of risk and are demonstrating your ability to be experimental across your sketchbook work and exercises so well done. Take the time to develop your ideas at length before starting any large studies and continue to take creative and material risks. Look at exhibitions that challenge you and really look closely at materials, techniques and creative outcomes to help you push your own working aesthetic.


Assignment 1 Assessment potential


You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.



Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Part One Form and Gesture

Exercise 1 Warm – up temporary drawings

I haven’t been able to find any of these. Make sure everything is documented somewhere i.e. if you have photographs then pop them on your blog and comment on them as you see appropriate.


Project 1 Feeling and expression

Exercise 1 Experimenting with expressive lines and marks

You have started off well by embracing these exercises over short periods of time producing a range of interesting outcomes through varying sets of emotion and the outcomes are diverse and exciting to look at so well done. It is good to see you use a range of mediums and colour for these exercises. Try if you can to write less descriptively and have a go at evaluating and analysing more critically in your learning log from a personal perspective. You will need to practice this often. Think about what surprised you, how the materials worked for you, what worked (or didn’t) and why. It may help to start to think about whether you have seen similar mark making in another artists work and the best way to do this is to go out and about and look closely at artwork in the flesh. Someone like Van Gogh and his landscape drawings would be a great reference for this exercise for example.


Exercise 2 Experimenting with texture

You have submitted some very sensitive and composed examples in your sketchbook. The page of moss samples for example are very exciting as you have managed to explore a wide range of materials all of which expresses your technical, creative and visual skills. Your written account demonstrates your personal voice coming through however try to act on saying that you are going to look at artists that do this. Instead do this and write up about your findings alongside the exercises so that it feels more immediate. Post links to the images in the pages of your blog to demonstrate which image or work you are describing and then try to analyse your work with theirs. This is seen as really good practice so I would start doing this as soon as you get this report. To expand on these ideas you could look at developing these onto different papers or paint a wash on the background before drawing on top. Think about how you could perhaps merge the frottage ideas with your drawings.


Project 2 Basic shapes and fundamental form

Exercise 1 Groups of objects

You have for this exercise produced 4 A2 sized drawings. Try if you can to map out the objects on your page before starting to try to ensure that the whole will be drawn. To do this mark where you think the tallest part of your still life is and then mark out the lowest part. If it help you can try in your sketchbook to draw the outline of the whole object to make sure you fully understand scale on a page. Before you start with this type of exercise I would use a sketchbook to get to know what you have in front of you. As you move through Drawing 1 you will start to understand negative space too, which will help you develop an understanding and confidence in rendering an image. I would work in small scale like you have you with the exercise above and play around with what works and doesn’t, make notes in your sketchbook or learning log as you work through them.

As you work through them I can see a marked development in seeing. You work out scale and proportion, you start to ground the objects on a base i.e. a table looking at cast shadows and then you start to consider the detailing. I would also suggest that you take (and not work from) photographs of your objects in situ as you can see where you have started to go wrong as it allows distance between you and the still life. Don’t work from photographs unless told to, as you will find that you will make very flat work. The 5B pencil study starts to resolve some of the issues I have pointed out and for me this drawing captures the scale and proportion of your objects best. I can see why you like the charcoal drawing best as it starts to convey aspects such as texture through mark making which is something you seem to really enjoy.


Exercise 2 Observing shadow using blocks of tone

You have produced three drawings for this exercise and have analysed these well in your learning log. You are starting to see the value of producing a series of warm up drawings to get to know your objects better. You are quite negative about the first drawing, quite possibly as you had frustrations with it however at this point I would like to pint out that your drawings skills have moved on considerably at this point when you think about the start of Drawing 1. Although there are issues with the shapes of both the saucer and cup you have tonally grasped some aspects of light, mid and dark tones in this drawing. The patterns and shapes you are seeing are adding to the essence of the work and I think that you are creative in developing both your visual and technical skills in this drawing. Overall you get the weight of the objects and have a good sense of the directional light so this to me is not a bad attempt at all. Your second drawing is more creative in outcome however loses the technical skills slightly overall. You are committed to denoting darker tonal aspects, which is something that often students often find hard to do and again for me the reflective tonal aspects held in the cup are well observed. The third drawing for me has less of a tonal commitment as the mid tones get a little lost along the way? This again will come with practice and working with directional light as you have found out can really help you with this. If when you get this work back from me you turn the paper around so that you can see the shape of the cup in its vertical stance you will see that the right hand side of the cup is mis-shapened. If this happens you can always check by shifting the paper around to see if the shape you have drawn makes sense. Imagine a vertical line going through the centre of the cup. Do the two halves mirror each other? Overall you have worked very hard at this exercise and these efforts have paid off so well done.


Exercise 3 Creating shadow using lines and marks

It is good to see you researching in more detail from the Internet to help you with your studies. The examples you have played with in your sketchbook are varied, experimental and wide ranging. Try to get into the habit of not working on the back of a previous drawing in your sketchbook as this may cause issues if you wish to photograph or cut out and stick the work down at any point. There is a great energy to these experiments and this is exactly how a sketchbook should be used so well done with all your efforts here. Your four box drawings are well executed…the pencil drawing in particular. Your extended drawing demonstrates aspects of your research well. Think about what you leave blank/white and look carefully at the angles and negative space around your objects. This will help you get a more accurate idea of perspective in regards to the box. Tonally you have built up the cross hatching well, think about how you could have worked with a range of nib sizes to exaggerate some aspects in regards to tone.


Ellen Gallagher, Bird in Hand, 2006


Research point: Odilon Redon

You have submitted a very good analytical response to the work of Odilon Redon and it is great to see that you have taken the time to magnify aspects of his work to really investigate both the paper and mark making he has used within his work. You have articulated very well throughout by looking very closely at the marks and have supplemented your critique by additional images that you have resourced and analysed on top. Good reflection and analysis, try to introduce this expanded written approach in support of your own work.


Exercise 4 Shadows and reflected light

It would have been good to see if you had started off with some preliminary drawings either on your learning log or in a sketchbook for this and other exercises however what you have managed to do is produce a confident larger scale drawing looking at reflected light and shadow. There is a bit of confusion in the cast shadows which confuses the eye a little (varying mid tones and mark making so try to be as consistent as you can. The pudding bowl if held upside down is a little inconsistent in shape, the bottom left hand side varies from the right so take the time if you can to get the shapes and forms as near to correct as you can through measuring and mirroring as I have mentioned before. The saucepan’s form is not bad. Ellipses are very tricky and so I would suggest you look at the OCA website for tips as to how to understand and draw them however the foreshortening of the saucepan handle you have managed very well.  The tonal aspects of the overall drawing are a little flat so don’t forget to consider previous aspects of each assignment as you head through. The reflective elements have been worked at through mark making and again the patterns you are making to get the surfaces across works well. You have managed to capture the reflective surface of your table so this has added to the quality of the drawing so well done again. Overall this is a well executed drawing that is both complex and confident. Try to work more with applying a certainty to the tonal aspects of your drawing to really get the depth of the composition. Overall, very well done here.


Assignment 1

As part of each full assignment you should complete and send to me the assignment piece along with the exercises, your sketchbooks and your learning log. From your letter in your package it seems that you have misunderstood and have not include the assignment 1 work. Don’t worry at this point instead when it is ready upload it onto your blog when complete and ensure that for Part Two you have the assignment work included. Remember to reflect on this as you have and include all preliminary and development work in support of this.


Reflection on your progress

You have written a good reflective account of Part 1 outlining the successes as well as areas to improve upon. Try if you can to expand on all the work you have done making the report a fully one. Think about your research and how this may have impacted on your studies.




Demonstration of technical and Visual Skills, Demonstration of Creativity

You are using your sketchbooks appropriately and in a sustained way by working through a number of preliminary sketches and experimentations, annotating and trying out a few varying techniques and mediums in support of your final outcomes. These small scale experiments (where they do occur) feed into the final drawings in a coherent way. Try to include more images from your supporting sketchbook work on your blog as they will help you make more developed creative decisions through practice, widen up your material experimentation and allow you to take more risks within your own work both through process, supporting research and materiality. You have annotated on the pages but don’t be shy in showing a small element of critique within your sketchbook pages. You can collect things of interest, postcards or images from exhibitions and so on in there too to practice being more fluid in your work on the day to day. Make sure that the exercises are referenced in the pages of your sketchbook for the assessors to follow at a later date. This is a good start for Assignment One to date, well done.


Learning Logs or Blogs/Critical essays


It is good to see you going to exhibitions and taking the time to research further the suggested artists from your study guide. Your research could be more explorative and encompass a range of both historical and more contemporary artists to help you inform your own practice as you move through Drawing 1 and I encourage you to do much more of this. Also buy Vitamin D2 to help you with your studies in terms of material and conceptual understanding. Extend your learning links to delve into more appropriate academic research in support of your studies. I can help you with this if you are at a loss as to where to look. Tate online is a good place to start http://www.tate.org.uk/learn/online-resources


Your log is being used well and you are clearly recording and documenting your learning through this tool.  You have a starting to develop a personal voice as you move through Assignment One so I would really encourage you to do more of this by continuing to reflect, evaluate and analyse in close detail as well as in more depth when you see fit. Over time you will be more efficient at obtaining a balance between artists research and your own work. Your learning log is organised and easy to follow.


Suggested reading/viewing


I would suggest that you evidence in a little more detail the wider reading that is suggested in the reading list provided in your study guide. Don’t be afraid to add your own interests to your work and cite as many exhibition visits to your work in detail.  See at least one exhibition that takes you out of your comfort zone within your next assignment. Purchase a copy of Vitamin D2 to help you with your understanding of more contemporary artists, take the time to look at the reading list and pursue more detailed research as a result.


Pointers for the next assignment

  • Spend time looking at a wider number of artists in support of your next assignment (I can help, just ask).
  • Remember to cite using the Harvard System of Referencing throughout your learning log, you can do this by adding links and attaching the reference to a reference list in a word document to add to your formal assessment submission. How to do this can be found on the OCA website. You need to be specific to the work, what you are doing at present is too general.
  • Make sure that you work in one sketchbook at a time to ensure fluidity in your studies. The content can include your own interests to add to the mix if it helps.
  • Make sure that the final Assignment work is complete and attached to your submission.



Tutor name Hayley Lock
Date 12.02.17
Next assignment due 05.05.17


Tutor Report Response

Hello Hayley,
Thankyou for your email and your comprehensive report. 
I’ve read it through twice and will be taking on board all your suggestions. I have started Assignment 1 and will send it with exercises and Assignment 2.
Regarding the sketchbooks, obviously you place great store by these and I will use them more wisely. I’ve used several as other students in the forum suggested it, however I do see the benefit of recording chronologically as an aid to establishing progress.
Should I set a deadline for submitting this?  Would 10th June be acceptable?
Thankyou once again.
Kind regards,
Ros Townsend

Hi Ros

You are most welcome. Don’t worry about anything, you have done really well overall and the first Assignment is always a learning curve. If you look at the bottom of the report I have given you a deadline date for your next submission. This is something to work towards but is not set in stone. This hopefully should give you something to work towards but if things get in the way as long as we keep in communication there is some flexibility. I use these as a guide to make sure that you will complete the course in time considering your degree as a whole. Let’s have a look at a sketchbook with your next submission that way it will give you time to get in flow and so on. Of course, if you wish to send me photos in between you are most welcome. Always use either an A4 or A3 sketchbook to allow you elbow room to work across all assignments.
Relax and enjoy yourself, my reports are guides to help you with your studies and not a thing to beat you with!
All the very best

Exhibition Visit and Review

Exhibition highlights  entrepreneur’s creative scope

David Ross, Lincoln native and co-founder of The Carphone Warehouse Group, is an entrepreneur and benefactor who has massed a superb collection of contemporary British art; some of which once hung on the walls of his house and now appear in the exhibition – Land, City & Sea: British Masters from the David Ross Collection at The Collection, Lincoln.

The paintings, photographs and sculptures on show, vary from the cities of the 1960s as depicted by David Hockney and Patrick Caulfield, moving through to more urban and suburban landscapes of Leon Kossoff and Jonathan Yeo. Ged Quinn and Tony Bevan portray the countryside while the moods of the seas are explored by Christopher Nevinson and Keith Vaughan, contrasting with works by Bridget Riley and sculptures by Barbara Hepworth – exploring place via abstraction and minimalism.

Sixty-four art works are housed in a separate square gallery, within The Collection: they appear to have been grouped by media and size, however some sections are by theme. As you enter the gallery and turn left, you are greeted by an enormous montage-like photographic work from Gilbert and George along with other photographic exhibits, housed in their own temporary alcove. Walking around the alcove barrier you encounter groups of paintings of urban sites (with similar restricted palettes) in London, which continue along the left-hand wall.

All the works on this wall are of a similar, large size. A couple (from different artists) are of heavy impasto. One by Frank Auerbach is one of his many paintings of Mornington Crescent; as in his other works, it looks as if the artist has applied the paint energetically, as if he was listening to some music with a strong rhythm. With thick dark lines to emphasise the curve of the road which draws you along the pavement and into the crescent itself – however you are prevented by the rope barrier. In this painting of the ‘Early Morning’, the artist has used complementary colours of yellows and blues to determine lights and shadows of the buildings and road during the sunrise. Why was  I instantly attracted to this painting? It was a reminder of my life in London many years ago – I didn’t need to see the title, I knew exactly where it was,  Mornington Crescent, London.

In contrast to the Auerbach painting, there is also a work on this wall by Leon Kossoff –Bus Stop , Willesden. While also of heavy impasto, it is far more muted in its palette and in my opinion has the opposite effect of the Auerbach: instead of being drawn in, the viewer must stand back in order to determine some order of resemblance of sense within the painting – which this achieves. This wall leads into another built in alcove housing country sports paintings and drawings.

Coming back into the main gallery, the outer, back  wall continues with a single row of large paintings of trees and their written descriptions. Greensleeves – by Hurvin Anderson – is the picture used to promote the exhibition; appearing on the advertising posters and exhibition booklet.

Anderson H, 2017, Greensleeves, Oil & acrylic on canvas, The Collection, Lincoln

Although his work is unfamiliar to me, this picture on the exhibition  flyer is what attracted my attention to the exhibition. Greensleeves was displayed as part of the 2017 Turner Prize, where Anderson was one of the four shortlisted artists.

The artist is credited with painting bewildering pieces composed of mixed characteristics.

Anderson’s scenes in this painting appear to shift between abstract and representational focus, which he achieves by  using overlaying repeated images with decorative screens and abstract patterns, interfering with the landscapes underneath. As a large painting, I was only just able to stand far enough back from Anderson’s piece to see it all and I struggled to decide from which side to commence viewing it. It looked as if it had been painted or printed from right (maybe representing time past) to the left -present time. However, does the artist meaning me to see trees emerging from it or disappearing into  it? Regardless, I was drawn to this piece because the rhetorical question.


Moving around to the  right-hand wall, the subject changes to the sea. Here you will find two small works by Keith Vaughan. Separated by eleven years of time, there is a such difference the styles. Painted in 1944, The Wave, (in Indian ink with wax-resist and gouache) is in portrait view and clearly shows a large wave crashing over the seafront road and despite the Neo-romantical style. This is in sharp contrast to his second piece painted in 1955 – Black Rocks and Beach Huts -oil on board and is Abstract in a landscape view where the rectangular shapes have been placed successfully to reflect the title. Vaughan, a self-taught Yorkshire artist, was beset by internal struggles as a conscientious objector during the war and then with his sexuality. During this period, he  changed his style however the muted colours that he used throughout remained constant – entirely appropriate for the subjects. Viewers, who have visited the Yorkshire coastline, cannot fail to recognise the setting through the atmosphere so cleverly depicted.

This wall is completed with artists quotes printed onto the wall followed  by some ‘Pop-Art’ exhibits with a nautical theme.  From here you’re attracted and directed to the centre of the gallery, which has been given  a mini ’maze’ quality and  houses the remainder of the exhibits, including more abstract paintings and the sculptures.

Because of the large number of works in this  exhibition (and the rope barriers) there is little spare room for luxuries such as seating: indeed, at peak times it could be envisaged that the gallery could become quite full with a relatively small number of visitors inside. Despite this, the variety of the works make this an exhibition of importance –not often accessible to the public  and therefore very worth of a visit.







Drawing 1 – Assignment 5: Self assessment of previous assignments

Following tutor feedback, I have made a number of changes to this blog in response to this.

For the first part of this assignment I need to carry out a written self evaluation of my previous assignments identifying successes and problems that need to be resolved. Following this, I need to choose one of them as a starting point for Assignment 5.

Assignment One – Line, space and form


This was the first time I had ever presented work for others to critique and I was very pleased with the outcome. Due to a misunderstanding, I never actually submitted my final Assignment 1 piece, however my tutor reported on the Project 1 exercises nevertheless. Comments for the future were to:

  • look at a wider number of artists – I have certainly been more pro-active with this. Although  work commitments and location have prohibited my going to many major exhibitions. I have attended a number of local touring exhibitions and have included them in my blog;
  • use the Harvard referencing system – this I have done;
  • work in one sketchbook – this has really had me in a quandary: I’ve often had a number of sketchbooks on the go -do I take out pages to put in one main book or run different sketchbooks for each assignment? I’ve done a bit of both. Most of my prep work should go in  them however much of it is on larger pieces which don’t fit so they have remained loose.

Assignment Two – Intimacy


I enjoyed this greatly and it showed throughout – particularly in my final piece which gained some favourable comments from my tutor.

Points to work on here included:

  • trying out smaller prep pieces before committing to a large piece – I was only doing this for the assignment pieces but now I do for most exercises too;
  • working chronologically in my sketchbook – still not good at it as I like to use different types of sketchbook papers and sizes so again do I take them all out to put into one?
  • writing from a more critical viewpoint and expressing my opinion – I have improved this by reading some guides on how to do this as I didn’t really know what I was aiming at.


Assignment 3 – Expanse


Here I was still not working emotively – I was over-thinking it. My study habits had improved, as had my critical analysis and the use of my sketchbook. The main problem was my final piece and my decision to put the blue delphinium in. At the time I felt that it needed something to focus closely on at the fore however this was clearly not the right decision – I should have just continued with the climbing plants on the wall and endeavoured to

Assignment 4 – The figure and the head

Surprisingly, this was to be my most positive response so far.


I say surprisingly because studying the human form had been the area that I was least looking forward to studying but I’d attended some life drawing classes which had paid off in spades!

Other comments included:

  • to use the sketchbook more for exploring mediums, processes etc which I have done for Ass 5 and
  • to look at more contemporary artists – which I have also done.

Because of my surprise ‘success’ with this assignment, I have decided to opt for this assignment as my starting point for Assignment 5.

Drawing 1 – Assignment 5: The written element – my artist’s statement

Following formative feedback from my tutor, I have amended my written statement to take into account her comments and suggestions.


For my final assignment, ‘The personal project’, I had to select one of the four previous assignments as a starting point; I chose ‘The figure and face’. Why? When I first started this module the one thing I most dreaded was ‘The figure and the face’; whether it was lack of practise or the constant worry that it wouldn’t reflect the model I’m not sure. What I did know was that I wasn’t going to go into the assignment half-hearted so I made the effort to get practised and attended life classes for nearly a year and it paid off; Assignment 4 and the exercises attracted really good feedback. The features of my model (my long-suffering daughter) have become very familiar to me, therefore I feel that I should continue to use her in this role.

Because I appreciate both monochrome and colour portraits in in equal measure, I admit to being somewhat undecided along which path to follow. I love charcoal, having become confident and comfortable with this medium,  and I could so easily use it; however, this is my personal project and I feel it needs to be less comfortable from my perspective – it needs to be more of a challenge.

My favourite colour drawing media being pastel – both soft and hard – and following the success of my pastel picture from the previous assignment, I wanted to follow in a similar vein but with a far greater range of colour. On a successive number of mornings, I had to wake my daughter and  noticed how she had responded to this by moving from deep sleep; simultaneously I could see how the daylight changed the colours of the room. clothing and the presentation of her body, once I opened the curtains.

Before I made the final decision on how to develop my work for this assignment, I looked back on my work from previous assignments,  particularly the research on artists whose works had encompassed the naked, fuller figured model (my model has a similar build) . In addition, I researched other artists such as George de la Tour – a 17th century artist: during his later years, La Tour’s paintings of the human form are  depicted by interior scenes lit only by the glare of candles or torches – the light made more pronounced because of the use of chiaroscuro.


His religious paintings completed in this way ( which appealed to followers of  Catholicism)are simple, with a stillness that expresses both contemplative quiet and wonder. The restricted palette of dark browns, deep reds and creams assist with enhancing the contrast of light to shadow. It could also be interpreted as the darkness falling away from or being pushed away from the light by the strength of a single flame, of faith. Darkness falling away is something that I think I would like in my works.

I also explored some 19th and 20th century artists  – Courbet, Renoir and Dugdale -looking closely at how they portrayed the skin of the nude female because in my mind I was contemplating having a partially naked model and I wanted to investigate how best I could show the skin in the light. Like La Tour, Courbet included the use of chiaroscuro, however he used a wider more natural light source to focus on the skin which emphasised the face and body.

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Renoir’s portrayal of naked women gave their skin a more blurred appearance than Courbet, in full daylight with minimal shadow. The colours he chose to surround his models reflect onto their skin, which seems to enhance the softness of their bodies. I want to show the soft elements of my model. Dugdale’s work also appeals to me because of how differently  the skin is portrayed, compared to Courbet and Renoir: it contains more ‘movement’ in that he emphasises muscular tone without making it masculine.

Toulouse Lautrec and Degas have influenced my assignment with reference to the stroke work. The specific piece by Lautrec is a portrait of Van Gogh: the layers of cross-hatching on the clothing and the background contrast greatly with the much lighter skin of the face, where minimal strokes have been used.


Degas’ stroke work is so different from the Van Gogh portrait – no cross-hatching just vertical or diagonal strokes that he has used in such a way as to define back, middle and foregrounds. I am really drawn to this stroke work – I believe my trio of pictures will work well as a sequence if I keep the stroke work consistent and the colours clean with very little mixing- like Degas.

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The 20th century artist- Grant Wood, although better known for his paintings of fields, painted a number of pictures with figures, that in places look quite flat and are dominated by analogous and tertiary colour schemes –  appropriate for the period. He included small touches of complementary colour which draw the viewers eye and this is a colour scheme that I might consider but I do want some depth in my work.

img_1142 (1)

Contemporary artists like Saville, Denning and Miel are quite different in their approaches to the human body and colour. Jenny Saville focuses on quite extreme foreshortening of larger bodied models – this is of interest to me because my model is larger than average. I also admire the uncomfortable looking positions in which they often pose, however the colours that the artist uses are quite warm – even the shadows- seeming to balance out the ‘in your face’ positions. Denning and Meil both use restricted palettes; regardless of this, the effects of stroke work on the skin (with complementary colour) creates great depth.   

The colours used by artist Glenn Brown have also proved interesting – more for the colours than the stroke work. Greens, yellows and blues for the body, work well against the pinks, purples and blues of the clothing; with the chiaroscuro effect that he has used quite often, I am starting to get some stronger idea about what I’m after.img_1143

In my sketchbook, I made a number of experiments focusing on most of these artists  palettes, marking making and compositions to see if any of their influences might be suitable in my context. With these experiments and referring to work and research in previous modules, I have been able to make a decision regarding  the different positions in which I would ‘capture’ my model; this and title of the series, has greatly influenced my choice of  the colours to represent a natural waking from slumber.

I will present a trio of pictures starting with a small A4 ‘negative’ image, where my model was sleeping in the dark with an outline scratched away (rather like scraper board). My middle A3 picture would show my model stirring from sleep, with the darkness falling away. My third and largest piece in A2, would show my model – not quite awake but in greater light- having rolled onto her back with the light from the window upon her skin and clothing; her face being more evident- the darkness all but having disappeared.
The title of my three pieces:

Capturing waking from sleep -through negative to positive imagery and position- in hard pastel’.


Hales, S. (2018). What is …Tenebrism?. Artists & Illustrators, (September 2018), p. 44.

Encyclopedia Britannica. (2018). Georges de La Tour | French artist. [online] Available at: https://www.britannica.com/biography/Georges-de-La-Tour [Accessed 15 Jan. 2019].

Ormiston, R.(2018). The New Master. Artists & Illustrators, (September 2018), p37

Edgar-degas.org. (n.d.). Edgar Degas – The Complete Works – edgar-degas.org. [online] Available at: https://www.edgar-degas.org/ [Accessed 15 Jan. 2019].

http://www.wikiart.org. (2018). The Appraisal, 1931 – Grant Wood – WikiArt.org. [online] Available at: https://www.wikiart.org/en/grant-wood/the-appraisal-1931 [Accessed 15 Jan. 2019].

Gallery, S. (n.d.). Jenny Saville – Prop – Contemporary Art. [online] Saatchigallery.com. Available at: https://www.saatchigallery.com/artists/artpages/jenny_saville_11.htm [Accessed 15 Jan. 2019].

Joshuamiels.com. (2019). Josh Miels – 2016. [online] Available at: https://www.joshuamiels.com/2016 [Accessed 15 Jan. 2019].

guydenning.org. (n.d.). selected drawings. [online] Available at: https://guydenning.org/portfolio/drawn/#jp-carousel-3081 [Accessed 15 Jan. 2019].

Magnolia Box. (2019). Life. [online] Available at: https://www.magnoliabox.com/products/life-borgm-00718 [Accessed 15 Jan. 2019].

R Townsend 10/12/17 https://rosartsiteblogblog.wordpress.com/category/study-visits-research/(Accessed 15/1/19)

Courbet G, 1865, The Woman In The Waves, oil on canvas, 65.4 × 54 cm (25.7 × 21.2 in), Met Museum Art. Available at https://en.wikipedia.org/wiki/en:Metropolitan_Museum_of_Art   (Accessed 15/01/2019)

Sion,G. 1994. Renoir’s Women. Pavilion Book, GB

Drawing 1: Assignment 5 -The Personal Project

Following formative feedback from my tutor, I have made a number of amendments to my blog in response to her comments and suggestions.


‘Capturing waking from sleep – through negative to positive imagery and position – in hard pastel’

Having decided on how to proceed with this assignment, I made three, A3 x 20 minute charcoal on grey sugar paper sketches of my model; the first whilst asleep (she had no idea I was there), the second capturing the immediate movement after being disturbed and the third and final portraying the model in a stupor just before opening her eyes.


Sound asleep


First movement


Stupor before waking

I decided to have three different sizes: 1st- A4, 2nd- A3 and 3rd- A2. I then proceeded to use prior and new research along with experiments with colour palettes, different media and tools in my sketchbook for influences on my final choices:

Early on in this module. I spent some time experimenting with different media on plain paper and on different acrylic coloured grounds, to which I referred during my planning.


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My research took me back as far as the 17th century, where I was looking at the colours commonly used with chiaroscuro, then to the 19th century where my focus was on skin tone, strokes and media. In the 20th and 21st century, I was interested in a number of different ideas – mainly how artists had reinvented some ideas from earlier centuries and had used modern materials and strokes to achieve them.

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Further experiments with colours, Indian and acrylic inks, lines, colour versus monochrome assisted me with my final decision:

  • a dark start with coloured line showing through;
  • moving to the darkness slowly falling away as the model starts to move and the light begins to appear;
  • concluding with the model having rolled onto her back and the darkness falling away, as the curtains are opened and the light brightens the room.


My first piece of the trio was going to be the smallest so I reduced the size onto A4 cartridge paper.


Gridding to reduce size


I used the coloured, hard pastels on the rough side of the cartridge paper which I then covered with hard black pastel. I traced the outline on the top and then proceeded to scrape.


I used one of my palette trowels and one of my nib pens to do the scraping.


Scraping completed, I think I’ve created an accurate, negative picture which portrays my model asleep in a darkened room.

Because the second picture on A3 cartridge paper depicts the initial movement of the model waking as the light appears, I decided to introduce some colours to the skin that would lead into the final piece.


The black is starting to recede as the curtains inviting in the morning light.


For my final picture, I used A2 cartridge paper. I tried to show the roundness of the arms and face, whilst keeping the other facial features accurate; showing equally the body contours lying on and under clothing in addition to body the imprint in the bedding.


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The photos don’t represent the true colours of the real pictures.



Self Assessment

Assessment criteria points

  • Demonstration of technical and visual skills – materials, techniques, observational skills, visual awareness, design and compositional skills.(35%)

Overall, I am relieved to have completed these pieces and I’m really impressed with the choices I made.

This is now the second time I’ve created a ‘set’ of drawings with a theme and I have continued to enjoy the process. Deciding on the order of the sizes and how  to transform from negative space through to positive has improved my imagination; additionally,  experimenting with different media in my sketchbook has really helped me to make final decisions within the pieces.

I was so pleased with my initial A3 sketches of the model in the different positions but  subsequently bothered considerably by the prospect of not being able to recreate them as well. The model is recognisable within all three pictures and I feel all the finished poses are a true likeness, indeed the proportions, perspective and foreshortening elements in all three make me proud to say that they’re my compositions. Using hard pastel was the right choice for all, with repeated fixing enabling me to create confident areas of positive and negative space.

The colour combinations that I finally settled on have really enabled me to fulfil both line and tone elements as well as including an exaggerated light source.

Quality of outcome – content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas (20%).

I was asked to be guided by my own interests, tastes and inclinations – which I have done. The content reflects  ideas of  showing my model in a varied but linked presentation, whilst using my emotional involvement to influence my work. To achieve this, I revisited previous research I had completed regarding how artists have depicted and presented the female form – both clothed and nude- through time;  following up  these themes through experimentation with different media.  I believe I have applied and presented  my knowledge  gained through the module in a coherent manner, enhancing the quality of the work and hence the overall impact.  I feel I’ve met the majority of the brief.

Demonstration of creativity – imagination, experimentation, invention, development of a personal voice. (25%)

I feel I have tackled

  • Experimentation – as I was researching artists I was also experimenting with their styles -both of colour and stroke work. My idea was to portray my model asleep in the dark, moving as she woke and started turning over when the light started entering the room, through to being almost awake as the curtains are fully opened. I wanted to find a way of moving from a negative image to a positive image but showing the darkness falling away. In my sketchbook, I focused on a number of artists from the 17th century to the present day, looking at how they used dark to emphasise light, how light reflected on skin, how differing strokes changed the sense of work. I experimented with soft and hard pastels, layering and fixing colours in the styles and strokes of these artists whilst looking for an influence to assist  in my work. I referred to some experiments I had made with different media on acrylic grounds and practised some ideas with these both on paper and on tracing paper to see if that would be a better choice, however I found that success on the tracing paper depended on the grain of the pastel used – some working better than others. I then thought that  a line drawing might be more appropriate as a starting point, maybe with some ink included so I experimented with that but I didn’t feel that I could create a succession of pictures on a theme if I used these media – particularly as I couldn’t control the ink sufficiently. My experiments continued with monochrome, acrylic ink and pastel and then negative and positive imagery. Finally, my experimenting led me to a style resembling scraper board, where a top coat of black is scratched away to reveal colour underneath. My first picture being a full example of a coloured undercoat of pastels that showed through the top coat of black pastel, after I scratched the top surface away to procure a negative image. This was the start. The research I had carried out – particularly on artists Degas and Glenn Brown- influenced me with regard to stroke styles and colours, thus enabling me to  move from A 4 through to A 2 sizing while moving from negative to positive imagery. 
  • Foreshortening – once something I feared but no longer; I was particularly concerned that the facial features – especially the nose- would not work well, however even though something still nags me when I see it I think it’s more to do with the colour I chose rather than the shape. I am also aware that the left hand of the model is not quite to scale however my original sketch shows it to scale.
  • Imagination and invention – I’m not always known for my use of imagination, therefore I hope you will understand why I am pleased with my invention of the scrape-a-board together with its effect on the first two pictures; I really think the way I have used the colours, layering and fixing of pastels whilst comparing soft against hard pastels has given it visual impact.
  • Personal voice – because I had an initial idea of what I was after  in these pieces, my research and experimentation has assisted my ideas to come to the fore and strongly influence my approach to this assignment.


Context reflection – research, critical thinking (learning logs and at second and third level, critical reviews and essays)(20%).

I have incorporated some of the research I carried out for Part 4 in addition to some new research in this assignment:

  • Research – In my sketchbook, I have focused on a varied selection of artists from the 17th to the 21st centuries before settling on my final decision about how to proceed. However, I did already have an idea in mind, therefore it was important for me to experiment with styles, strokes and colour combinations to determine which would best suit my interpretation. I started with George de la Tour (C 17th) because of the clarity of his work: a master of chiaroscuro, how his colour schemes -dark browns, through deep red to creams, bordering on monochromatic- had reflected so emphatically against his single flame light source interested me, because my plan for the trio was moving from dark to light and I needed to decide if a similar colour scheme would be right as I do enjoy working in monochrome. Moving into the 19th century, I compared Courbet to Renoir: the former used chiaroscuro whist the latter did not – in the paintings I compared. Courbet, although not using a candle like La Tour, seemed to use a directed light source whereas Renoir’s paintings appeared to have had a much wider, natural light source, which has given a greater focus to surroundings as well as the model. (This was of particular interest to me as my idea was to move from dark to light.) In addition, Renoir’s depiction of the skin almost looks ‘blurry’ compared to Courbet, who has reflected  the colour of the surroundings on the face in  much more detail. Another artist of the time was Degas. I was drawn to his work because of his colour palettes and his stroke work: his picture of Dancers at the Bar (1888) that I chose to explore are  in analogous colour with quite a deal of smudging,  whereas his picture of Two Dancers is in contrasting colours with much more evidence of specific, directional stroke work. This stroke work is also evident in his work Two Women Leaning on a Gate, which again is in analogous colour and with short, vertical strokes depicting the mid-ground; I have enjoyed his work and believed this could be a style that might work for me when layering clothing. I also studied  the stroke work of Toulouse-Lautrec’s portrait of Vincent van Gogh (1887); his stroke work  in this pastel is quite different, with lighter under-colours on top of which stroke work of a darker and cross-hatching style has been applied. The contrasting facial colour, together with a lack of marks and more directional light, makes a strong picture. I also looked at a number of 20th century artists: Grant Wood, usually known for his farming landscapes did paint some pictures of people. In Appraisal  (1931) he used analogous and tertiary colours – wholly appropriate for the time, which he offset with a dash of a contrasting blue – just enough to prevent it from being dull. It was the colours that interested me, however it confirmed to me that they would not be suitable for my idea. The dominant colour schemes of Joshua Miel and Guy Denning, although effective in their works were also too dark for what I had in mind. It was the works of artist Glenn Brown who really influenced my colour palette. An oil painter, who uses famous artworks from the Old masters as the basis for his own, includes chiaroscuro as in the style but his colours are much brighter and bolder. The examples of his works that I have researched and experimented with, really have proved to me that using them – combined with stroke work like that of Degas – will give me the effect that I am after in my trio of pictures.
  • Life drawing  – I cannot over emphasise how important attending life drawing classes have been to my development as an artist. Without my own enthusiasm to go out and find them I would never have been able to complete Parts 4 and 5 adequately. Developing a bravery around the naked form is not easy and then transferring the form to paper more difficult still, without a real life model. I have been lucky enough to have someone prepared to model for me and our relationship has enabled me to portray her honestly and truthfully.
  • Critical review – after completing the first picture, I realised that I had used the wrong side of the cartridge paper. I also think I could have probably prepared the top coat of black using a slightly different method, which would have given a stronger outline within the negative image. That being said, it may have looked too much like ready made ‘scraper board’ and that wasn’t really what I was after. I was after a negative image – like that of film from a camera- only the lines would be in colour and that I think I have achieved. The middle of the three pictures – showing the darkness falling away -still contains some negative imagery as well as now uncovering the positive image and I’m pleased with it: I think the colours are clean and shows the initial light of day hitting the model as she makes her first moves of the day.  I had a difficult internal debate before starting on the third -‘What could I do to give the final picture impact but yet continue the theme?’  Referring to my research and experiments again, I realised that as I was zooming in to the subject I could use a greater combination of colours within colours, tones within tones and that the use of strokes – like those of Degas that I much admired – would be important and visible than in the other two. I believe I was successful in the main, however now that I reflect on on this piece I can see that the hand behind the top of the head is not quite to scale – even though the sketch shows that it is. If I had added a deeper colour to the inside of the hand, I probably could have added depth to offset the issue of scale. In addition, giving more detail in stroke at the fore would have again enhanced the depth. What I am pleased with is the mouth, nose  and eye areas: using the dark colours links them to the negative imagery of the other two pieces and that which still remains in the final piece and they are an accurate reflection of the models features.




Drawing 1-Part 4: The figure and the head – Assignment 4

  1. Figure study using line (A1) – Seated model in an upright chair

For this piece, I started by completing some sketches of my model – with pencil and gel pen) on an upright chair in different positions. After much inner debate, I decided to work the side view into a larger piece.

The brief says to try different supports: I used mixed media paper and then pasted newspaper onto it facing one direction. I then added a second layer of newspaper pieces in shapes that approximately defined the different parts of the model’s anatomy with the print angled to hopefully assist the building of a three dimensional form.

Then I used graduated washes of dilute acrylic inks from yellow (light source – top left hand corner) through greens, blues to dilute black at the shadiest area. When it was dry, I quickly gave the form an outline with charcoal.

line outline

Then, using a black gel pen I proceeded to use a combination of lines to describe the facial features, hair then clothing etc. As I progressed, I realised my gel pen wasn’t going to be sufficient so I used one of my chunky – nibbed dip pens with neat black acrylic ink.


I’m really pleased and quite impressed with myself although I’m not entirely sure that it’s what was asked for: it doesn’t look as ‘relaxed’ or as ‘free’ as I’d hoped it would.

2. Figure study using tone (A1) – Reclining model

For this piece, my model was wearing a woolen dress and leggings, reclining on the sofa with the light source from the top left-hand side.

I made a quick study to make sure that there would be evidence of foreshortening – something I wanted to include.


I decided to use chalk pastels with a strong ‘family’ of colours – oranges through to dark browns. I really enjoyed this piece and using the pastel. I kept remembering to fix each layer so I wouldn’t end up muddying the hues.

When I had finished, I was struck by how the style of it reminds me of another artist but for the life of me I can’t bring the name to mind. Whoever it is, the result is purely unintentional and I love it!



3. A portrait or self-portrait combining line and tone

I’ve drawn myself quite a bit during Part 4 and I wasn’t sure whether or not I wanted to do yet another self-portrait. I did a number of A3 line drawings – with charcoal and sharpie on cartridge paper and white sketch pencil on black sugar paper. Whilst I’m not unimpressed with them, I don’t think I want to do a large piece of me, I’ve seen enough of myself!

Moving on then I persuaded my husband to sit for me. It was a natural light source from the left of the picture and I did quite an extensive A3 sketch trying to work out which media to use. The brief says an interesting position but I felt that this angle of ‘off-center’ and slightly looking down wasn’t so ‘normal’.


At first I was quite nervous of drawing this model as I’m not so practised with ‘clothed’ males, so much so that I started by gridding this sketch. However, I decided to draw without – a decision I’m glad I made. While I was doing this, I had an idea about using different ‘black’s on white so I had a practise.


I decided to using black gel pen for the model, compressed charcoal for the chair and willow charcoal for the background.


I think I made the right choices for media as it is tonal but in a slightly different way.


Self Assessment

Assessment criteria points

  • Demonstration of technical and visual skills – materials, techniques, observational skills, visual awareness, design and compositional skills.(35%)

Overall, I am relieved to have completed these pieces and I’m really impressed with the choices I made.

1. This is the first time I’ve really thought outside of the box with regard to support used. The layering of the newspaper,  the graduated washes and the dip pen work have enhanced the qualities of the drawing. The model is recognisable within the picture, the  pose is quite different from others I have tried, the taughtness of the clothing sets the work off combined with the deeper wash.

2. This second piece has really worked out so well and I’m wondering if it reminds me of one of Graham Little’s surreal works – the smoothness and tone of the skin. The proportion, perspective and foreshortening elements make me proud to say that I did this. Using chalk pastel was the right choice for this with repeated fixing enabling me to create areas of positive and negative space. I’m particularly proud of the face and the leggings.

3. For my third piece, I don’t think I read the brief accurately – it wanted a more up close drawing of the upper body and head but I was tuned into the ‘combining line and tone’ element. However, I’m quite pleased with the outcome as I feel that it fulfills the line and tone element as well as having an exaggerated light source and making choices of media to suit the purpose with which I was quite experimental. I’m pleased with the body especially the foreshortening elements although the head is not quite as full as I would have wished.

Quality of outcome – content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas (20%).

With regard to what I was asked to do, I think all the  pieces hit many of the marks. The content reflects  ideas of  presenting models in poses that are all varied;  all show evidence of planning, use of  differing concepts with materials and application of knowledge presented in a coherent manner. I’ve used knowledge gained in my research and other exercises to enhance the quality of the work (tonality and line) and used colour as well as monochromatic media to evoke mood. Even though  the third piece was not exactly what was asked for, I feel I’ve met the majority of the brief.

Demonstration of creativity – imagination, experimentation, invention, development of a personal voice. (25%)

I feel I have tackled:

  • Experimentation – by using acrylics inks as washes, making different supports, using mixed media to define grounds as well as identifying what does and doesn’t work well.
  • Foreshortening – by making myself chose poses with these issues, I’ve confronted some of my fears head on and to a certain degree I’ve overcome them.
  • Imagination and invention – I feel I’m making progress here although I admit my sketchbooks may not reflect this and is something I need to improve on. I’m pleased with the newspaper and wash effect as well as the surreal quality of the chalk picture and the effect of the three blacks.
  • Personal voice – now I’ve been successful with different supports and mixed media I know  I am becoming more open to new ideas and possibilities within drawing and I’m more willing to take risks within the work without worrying about getting it right the first time!


Context reflection – research, critical thinking (learning logs and at second and third level, critical reviews and essays)(20%).

I have tried to incorporate some of the research I carried out for Part 4 in this piece:

  • Self portraits of famous artists – I was struck by how just about all the artists I looked at always did self portraits of themselves looking sombre. I appreciate that it’s difficult to hold a smile and capture it without it looking false but I was determined to show part of myself as well as my models in a relaxed situation.
  • Life drawing classes – For over a year now I have been attending regular life drawing classes which have really helped me combat my fear of trying to capture the human form. I feel more confident with body posture and proportion as well as tone.
  • Line drawing – if I’m honest, I’m still not as confident with this as I’d hope to be at this stage. When I start out I have visions of make great sweeping lines that i gradually refine into a form but when I try it doesn’t seem to work. I’ve tried pen, Sharpies, charcoals and white on black but it’s not helping me. After much thought I think it is that I haven’t found the ideal mark maker for this yet. I really enjoy drawing – tonally – with drawing pen or gel pen. Gel pen gives a better flow for me but the nibs are too narrow, equally Sharpies are great but too wide- I think I need to find something similar – a happy medium.

I also referred to my sketches, books in my reading list, reviewing work in previous exercises and by other students to determine suitable media, as well as referring to the checklist (most of the time) in Assignment 3 and to previous tutor feedback.