Interim Feedback- Part 4 from Joanne Mulvihill- Allen

There are so many psoitives of studying for a degree through distance learning, I physically and logistically wouldnt be able to do it otherwise. The only downside is, especially with a creative subject is that I could be on completely the wrong path so I asked Joanne Mulvihill- Allen in student support for some interim feedback. I was really pleased and really appreciate  the comments.  I have taken on board the advice too, its really helpful.

It looks to me as though you are on the right track.
Compositionally you are conscious of filling your page, this is good, you’ve tackled a variety of poses and are looking more closely at negative space. The A2 blue pencil drawing you completed is a successful line drawing.
You are less concerned with details at the moment concentrating on form. Be careful with proportions although I can see improvement already, it is useful to use your pencil as a measuring device until you learn to see things with your eyes, there are plenty of examples of how to do this on google. I found it invaluable when I first did life drawing. Put some distance between yourself and the page to allow yourself to look at the model more closely. Remember drawing is an activity that uses your whole body.
Don’t be afraid to experiment in different media, particularly when conveying fabric and texture, look back to the first part of the course when you were exploring frottage and different ways of depicting the characteristics of the thing you were studying, put that to use here. For example, is your fabric wooly, fleecy, woven, what’s the best way and medium to describe this, remembering to vary your tone. The reduction technique is really good.
Remember to vary the weight of your line, it is a simple way to create depth in your drawing and give that sense of receding form, ie a heavier line when describing the areas of the body closest to you. It will help anchor the drawing.
When working on black it may be helpful to limit your palette to one colour – white for example. This will help in training your mind to deal with the lighter values and leave the darker values to the tone of the surface. It’s the opposite of what you are used to but will force you to recognise the importance of lighter tints and help you consider negative space further. Later you could add a midtone – grey – again to simplify the concept of tone and heighten your understanding.
Be careful of relying heavily on outlines, allow the subtleties in shifting tonal values to create the illusion of the line, squinting your eyes or using an artificial light source to manipulate the contrasts may help you identify them more clearly.
Keep going with it and let me know if you have further questions or concerns.

 

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