Response to Tutor Feedback Assignment 4

Response to Tutor feedback Assignment 4

Overall Comments

Please note Assignment 4 was agreed to be submitted before Assignment 3.

After receiving my written feedback for assignment 4 I sent some reflection and questions to my tutor ready for the Hangout. The hangout was extremely informative, very inspiring and clarified questions or direction that I needed.

In my tutors feedback she advised that there was “limited evidence of you following up some of the Research and Pointers, particularly in relation” to my “visual analysis and application of composition: Bonnard / Morandi”. After the hangout my tutor has sent me in the direction of looking at Morandi Still life’s and how he uses no  hierarchy among objects or between things and the space around them, this sounds fascinating so will ensure this is followed up by assignment 3 (4th submission). Although in regards to the rest of the research and pointers I had tried very hard to change ways of working and re- writing blogs to clarify information for example understanding of negative space and the Context of assignment 2 possible side effects. Despite being on several Gallery visits and student days, not visiting the Welcome Collection as per assignment 1’s feedback is purely a temporary logistical situation.

I am really pleased that it has been noted that “The portfolio generally evidences a sound development in confidence, an awareness and practice of some good observational skills”, “This experimentation is beginning to feed into other drawings and the assignment piece.  There is evidence that you are taking what you learn from the exercises and experiments and purposefully applying this to other drawings”.

I think my tutor is correct in identifying that I am “still not recording fully, your breadth of research and analysis”, I do so much reading and watching documentary’s that a lot gets disregarded as it isn’t currently relevant, however I think it will be good practise to start documenting what I am doing even if I have nothing to critic, analyse or particularly relevant to say.

Again my tutor has correctly identified that I need more commentary as to how my research informs my drawings, I do this in my head and need to make this clearer in my blog. I do a lot of my workings out so quickly, intuitively and sometimes it’s almost on a subconscious level that I need to slow down and display all of this in my blog for the OCA Assessors to see.

I have enjoyed setting aims for my assignments and for some of the exercises it has helped me to be more focused. The following comment shows I am heading in the right direction “You are making some qualitative judgements on your own work- this is a start to defining possible strengths, areas for development and improvement” and understand that at this stage some of my comments are general and will work to make sure they are more specific to focus on particular qualities, techniques and approaches that you can further explore and develop.

Feedback from Assignment 4

I was really pleased with the feedback and positive/ constructive comments mentioned by my tutor especially that the areas that I had tried to be successful were noted like “possible compositions, exploring cropping-in, colour saturation, qualities of mark-making and texture via drawing and digital manipulation”. “You have approached the A1 sheet with a decisive and bold composition, by cropping into the image you have ensured the figure confidently inhabits the space of the page.  You have used varied qualities of wash, line and drip to provide visual interest and a reflective mood to the drawing”.

The proportions of the heads in two of the pieces needs a little more work (common error) which after stepping back from being engrossed in the work and letting a few weeks pass I can now clearly see.

“There are some really interesting and experimental drawings in your sketchbook.  These show a confidence in your use of mixed media and exploration in a range of visual language.  Particularly the life drawing: gesso on newspaper with ink.” This particular drawing was one of my favourites and with time can now see how to develop this further.  My tutor has asked me to compare and analyse both the gesso (how the viewer sees) and collage in my sketch book and revisiting (added pointers) the marks (will add to my blog) from the small digital image (guitarist) also in my sketchbook.

I have thoroughly enjoyed the student visits and research I conduct and although It has been noted that I am improving (I tried very hard) I need to now deepen my approach further and show more analysis and questioning. “How can I apply what I learn from my research to my own work…. what can I take to inform and benefit my drawing practice, thinking and content of my ideas? “.

I will of course follow-up on the pointers, recommended reading and research the assessment guidelines.

Overall I am feeling more confident that I am identifying drawings (or ideas) that have potential to mature or expand.  I am getting the ideas and inspiration more rapidly as the processes of development, analysis and questioning are really helping accelerate this.

Assignment 4 Tutor Feedback

Overall Comments

 Thank you for the care taken in preparing and organising your portfolio.  The portfolio was supported by a link to the learning log.

Just to clarify that it was negotiated to submit Assignment 4 prior to Assignment 3.

I will comment upon specific aspects under each of the headings.  In relation to you reflecting on and responding to feedback from assignment 2: there is limited evidence of you following up some of the Research and Pointers, particularly in relation to your visual analysis and application of composition: Bonnard / Morandi.

The portfolio generally evidences a sound development in confidence,  an awareness and practice of some good observational skills in both the life-drawing class and figure-drawing of family members.

You are using your sketchbooks to experiment and explore a range of media, mark-making and textural surface effects.  This experimentation is beginning to feed into other drawings and the assignment piece.  There is evidence that you are taking what you learn from the exercises and experiments, purposefully applying this to other drawings.

You evidence a range of research across primary and secondary sources; this is good practice.  I wonder if you are still not recording fully, your breadth of research and analysis.  More commentary: as to how the research might inform and influence your drawings would help you to apply what you are learning from looking at others work.

It is good practice, that you are beginning to set some of your own aims and intentions (alongside those set by the course).  You are making some qualitative judgements on your own work- this is a start to defining possible strengths, areas for development and improvement.  Some of these judgements tend to be of a general nature, being more specific will help you to focus on particular qualities, techniques and approaches that you can further explore and develop.

To help you analyse and understand what is working (or not working) more commentary, analysis and questioning of the visual and the content, will help you put flesh on the bone, enhance your confidence, develop your strengths and set clearer aims.

It is good to see that you are spending time looking, planning, preparing and thinking about the assignment in helpful stages.

Assignment 4 Assessment potential

 “I understand your aim is to go for the B.A Creative Arts 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 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.”

assessment (see Conditions of Enrolment, Section 2 a). Contact the OCA Course Advisors to discuss this further.

   Feedback on assignment

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

 You tried out a number of possible compositions, exploring cropping-in, colour saturation, qualities of mark-making and texture via drawing and digital manipulation.

You have approached the A1 sheet with a decisive and bold composition, by cropping into the image you have ensured the figure confidently inhabits the space of the page.  You have used varied qualities of wash,  line and drip to provide visual interest and a reflective mood to the drawing.   The form of the hand pressing the frets of the guitar is much better perceived and drawn than the strumming hand.

As I mention under Sketchbooks there is a digital image with test stains / washes which I feel works well, due to you leaving areas for the marks and blotches to breath.  In the final drawing, it would have been interesting to see you approach the right-hand side of the drawing in a similar manner.

There was a small digital image (guitarist) in your sketchbook, which you’d used to test monochrome strokes and blotches on.  This offered some dynamics in scale of marks and suggest associations with old, worn or melting photographs.   This also worked due to there being areas left white- allowing the marks and blotches space to breathe.  (see Pointers)

The portrait of your husband has areas that are well observed and sensitively drawn.  A bold sense of foreshortening and detail in the foot, calf and leg.  The other leg isn’t perceived as well and the neck and head are too small and narrow.  There is a sense of character in the manner of how you’ve drawn his hands.  More research and observation into the proportions of the head (it is quite common to underestimate the width of a skull and the structure and width of the supporting neck, accordingly.  You make a similar misjudgement in the guitarist’s back / top of skull, though the neck is better perceived.  (see Pointers)


Demonstration of technical and Visual Skills, Demonstration of Creativity

There are some really interesting and experimental drawings in your sketchbook.  These show a confidence in your use of mixed media and exploration in a range of visual language.  Particularly the life drawing: gesso on newspaper with ink.  The range of transparent, opaque and linear qualities work well, the figure floats within the centre of the page and contrasts with the heavy dense paint scraped at the seat of the page.   You’ve used differing qualities and densities of line to draw elements of the figure, without creating a solid, physical edge or outline to the figure.

Good to see some further development in how you use the sketchbook to more fully explore some compositional options and surface, texture and media techniques. Continue to explore these options more for assignment 3 and 5. (see Pointers)

Your combination of sketching, making notes / descriptions and reflecting works well.  The combination of visual and textual notations helps you to notice and become more aware of specific visual elements.  It would help you to use these different notational strategies when planning the prep for assignments.  (see Pointers)

Look at Theodore Gericault’s drawings: studies for The Raft of the Medusa and his anatomical drawings.  Look at how he uses tonal washes and line to work out his composition, tonal values and convey form.


Context, reflective thinking, critical thinking, analysis

You are using your research into technique and method to inform your life-drawing skills: proportion and foreshortening.

A range of primary and secondary sources referenced.  Good to see that your OCA visit was stimulating and useful in a contextual and very practical sense.  Take practice of drawing from others works (and your own) to practice looking, visual analysis of composition, visual dynamics such as marks, tonal values, balance of positive / negative space….  Drawing from your own drawings can also be a useful means of developing more resource material for you to work from.

It would be good to see you even more purposefully using and applying your research to your own thinking and drawing skills.  Ask yourself and note this on your blog: How can I apply what I learn from my research to my own work…. what can I take to inform and benefit my drawing practice, thinking and content of my ideas?  Then set some specific aims from this questioning.  (see Pointers)

 Good Harvard referencing throughout.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

A well organised and structured blog reflecting your developing progress.

It is useful that you’re using the log as an archive of your thinking, research and drawing process.

You have used the blog more as a reflective space and this has helped you to plan, experiment and consider each stage of the assignment, in a purposeful yet experimental way.

There is an improvement in the quality of your commentary; there being less of ‘what’ you ‘do’ and more analysis and questioning.  Continue to practice and deepen this approach in relation to your own and other’s work.  (see Pointers)

As you work on Assignment 3 you will need to think about editing and selecting work from assignment 1 – 4 for your assessment (September submission for November deadline).  Look through the assessment guidelines:

Suggested reading/viewing


Euan Uglow : Measurement, proportion and composition.

 Theodore Gericault’s drawings: Studies for The Raft of Thee Medusa and his anatomical study sheets.

Robert Kaupelis’ ‘Experimental Drawing’ – You need to be committed to working through the actual exercises to benefit from the ‘experimental’ nature of the book.  You’re a visual learner, so through practicing the exercises your visual language and confidence will grow.

Pointers for the next assignment

  • Reflect critically on this feedback in your learning log.
  • When you make a broad, generalised statement on your own drawings such as:

‘very successful’ or ‘very good’ – expand on what criteria and qualities constitute ‘successful’,  ‘good’.  Ask on what are you basing your judgements? Does a sense of proportion, representational qualities, dynamics of mark-making, strong and impactful composition, conveying interesting content….or other notions?  This questioning and analysis will help you make clearer and better informed judgements for yourself and the work.

  • Critical thinking: Follow your lines of questioning & thinking further. For example where you recognise a connection or idea of interest, flesh-out your thoughts to help you analyse, understand and explore the particular qualities, content and ideas.
  • In both your life-drawings and assignment: reflect on and work out options for composition, negative & positive space, mark-making and varied tonal values in preliminary drawings. As previously recommended: 6 x A5, thumbnails before starting the assignment work.
  • Think about and reflect on what you choose to ‘leave out or edit’ as well as what you might add. For instance consider the relationship between mark-making / wash / texture / line and the space it inhabits.
  • Follow-up on the research suggestions under Research and Suggested Reading / Viewing. Post your thoughts and analysis, and how you might apply this to your own thinking / making to your blog.

 Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

Tutor name Cheryl Huntbach
Date 24/04/17
Next assignment due 02/06/17


Reflection Part 4 and Assignment 4

I have thouroughly enjoyed part 4 I really enjoy drawing the human figure its so challenging and get so much inspiration, I wish the whole course was figure drawing….

Drawing in pencil I think overall is the strongest medium technique that I have demonstrated although I am enjoying and developing a mixed media approach that allows for more freedom of expression.

Demonstration of technical and Visual Skills

I think I am progressing well, developing strong visual and technical skills and demonstrating visual awareness. Initially in part 4 the proportions on the figures needed improving and more looking, drawing and use of measuring devices has helped. I still need more practise with the face especially the eyes and staying away from drawing charactures. I really have prioritised trying to draw what I see and make good judgements on drawing of the proportions of the Human figure. I think that if I can master this the experimental element of how to present the figures will be almost easy. I have read Robert Kaupelis Experimental drawings focusing on use of line and marks which I has been really influential (although have not undertaken the exercises from the book yet). Reading Vitamin D (despite the disappointing small text) was insightful to the different ways of contemporary drawing.

Learning to draw from drawings (study day) will be an experience that will stay with me going forward and attending the Paul Nash Exhibition was also beneficial.

I think I still need to improve my compositional skills. Using the 6 x A5 drawings helped and I am still tentative with using a detailed background for example placing a person in a heavily detailed room. Understanding compositional arrangement and the research I did have really helped but think I need to move forward and experiment more with this.

I still want to document more evidence of the research I have done, I still have on my to do list to vist the Welcome Gallery, research the flesh exhibition (not able to attend at present) and finish watching John Berger Ways of Seeing.

Quality of Outcome

I hope the content, application of knowledge, presentation of work is in a coherent manner and am starting to form good judegements.

Demonstration of Creativity

There had to be a strong element of imagination to get the marks used for the Grey Man drawings to work with the drawing and overall composition. Although I expect the techniques I have used have been used by other artists (no research done) the end result of my drawings have been purely a consequence of my own experimentation. Experimentation of technical, creative, sketch book development and developing drawings from the exercises through to the assignments. I feel more confident to progress an idea and make judgements on when to stop with a drawing (not overwork).


It was completely my fault but I unfortunately I haven’t had a hang out with my tutor to discuss further ways of working, using Aims and demonstrating “‘how’ and what purpose or content you can bring to the drawings” as suggested with the last assignment. However a hangout will be scheduled after the next feedback and further improvements will hopefully be evident in the next part of the course (landscape). I think it would be beneficial for me to see how another student has done this in their blog (as I am a visual learner). I have tried to implement my interpretation of the feedback to demonstrate how, purpose,content and focusing on my interests by incorporating music into my drawings.

By using better organisational skills, using lists and mind maps to draft thoughts. I hope is evident that I am improving ways of working. I feel more confident in the flow of working, updating my blog and generally feel more confident in my drawing abilities.


Assignment 4 – Portrait Combining Line and Tone


The personal aim for this drawing was to focus on the objectives noted (below) from the brief ultimately to create a sucessful portrait of the Musician “The Grey Man”.

The brief for this assignment was to create a portrait where the features are believable and in proportion to the rest of the face, head, shoulders, arms and chest.

Try to find interesting proportions rather than looking straight ahead….. Be experimental and ambitious…

This is my favourite drawing that I have produced so far during this course (drawing 1) and I think It is very successful. I did extensive premiminary studies into the drawing as per previous tutor recomendations.

Assignment 4- Portrait combing line and tone


Ink, watercolour, pencil, charcoal on A1 paper.

This drawing was inspired by my favourite piece of art by Picasso. Using this painting as an inspiration for a drawing question further thoughts on what is classed as drawing media and what is a painting media. From reading a debate on the student forum and research online the answer was in the question that I posed? Where is the line between drawing and painting. It is the line that differenciates along with the media used. Paint (acrylic, oil, other wet material) generally being used as painting medium with drawing covering dry materials but includes ink, watercolour and mixed media approaches.

“Drawing is a form that wears its mistakes on its sleeve” (Dexter, 2005) where as painting covers a canvas without the drawing pencil line being obvious. Water colour fits within both categories, in the book Vitamin D refering  to Walter Benjamin “In defining the difference between painting and drawing, acording to Benjamins logic, the watercolour stand squarely between the two” (Dester 2005).

With the Drawing Vs Painting debate in mind how would I create a drawing that is inspired by a painting, so I used a mixed media approach of watercolour and ink to try and produce a drawing that was not painterly.


Pablo Picasso Blue Nude 1902

I have a print of Blude Nude 1902 in my studio, in my print you can see the shapes of figures and faces in the background. I am unaware if this is intentional or if the Blue Nude was painted on a canvas that had already been previously used. Here are my sketch book notes of my interpretation of the marks.


Here are the preliminary studies for the drawing


My tutor sugessted that I photograph the drawings so I can see the progress, here are the stages of development.


Fig 1 Pablo Picasso’s Blue Nude 1902 (s.d)

Dexter E, 2005 Vitamin D New Perspective in Drawing Phaidon Press

Assignment 4- Figure Study using Tone


The aim of this assignment was to use coloured pencils to capture tone to create a real sense of form and atmosphere of a reclining figure.

Assignment 4 -Tone


Reclining Figure- Coloured Pencil and Gouche on A1 paper

This drawing was influenced and insprired by the work of Graham Little’s use of Gouche and Coloured pencil within his work. Without knowing Graham Littles specific technique, I wanted to use gouche as a background wash to create atmosphere and then coloured pencils to get the final depths of tone.

Inspiration Graham Little


Preliminary work


Photographed stages of development (tutor recomendation)

Fig 1 Graham Little Untitled 2007 Colour Pencil and Gouache on Paper

Fig 1 Grahem Little 2007 Untitled

Assignment 4 – Figure Study using Line


The aim of this assignment was to create three dimensional form using line, ensuring the human figure is drawn/captured in proportion and create a successful contour line drawing with atmosphere.

Assignment 4 -Line Final Version


Seated Model in an Upright Chair- Coloured Pencil, Chalk, white charcoal on A1 black paper.

After reading Robert Kaupelis “Experimental Drawing Techniques” and attending the British museum study day I have been really interested in the different marks used by artists especially regarding line. And subsequently the effects they make.

After reading the assignment brief I immediately thought of David Hockney’s Contour drawing of “Henry Geldzabler” 1973. Inspired by Hockney and reading about Albrecht Durer “Portrait of Agnes” c.1494 and Egon Schiele “Self-Portrait” 1910 in “Experimental Drawing Techniques” gave a clear direction to aim  for.

I have created depth and form by varying the thickness of the lines  and different Media (chalk, white charcoal and coloured pencil on black paper). Overall I have created an atmospheric ghostly image.

I decided to keep to use the black paper and white media for this assignment as I took onboard interim feedback from Joanne Mullvihill- Allen “to limit your palette to one colour – white for example”.

After I completed the initial contour lines (below stage 1) using a photo on my computer I played around with different effects on Microsoft photo editor deliberating backgrounds (as per tutor recommendation) however ultimately I think the drawing is successful as a contour drawing with tentative grounding line as a background.

Stage 1


 Study of David Hockneys Henry Geldzabler 1973

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.