Tutor Reccomended Reading from Assignment 4- Life Models and Artist Euan Uglow

“Life Modelling: and now for the nudes” 

“Life Modelling: and now for the nudes” I can see why my tutor has pointed me in the direction of this Gaurdian Article which looks at different view points from the life models including why they do it, body confidence and misconceptions. ironically a couple of moths ago I had a couple of very ignorant school gate moms who thought it was hilarious that I attended a weekly class with “real naked people” (making some very nasty personal comments).  As drawing people is one of my favourite subjects I find this view so interesting, people’s perceptions of why we draw nudes and more so as the Gaurdian Article points out why people become nude models “It’s about being part of the creation of art – about the beauty of the human form” (Barnet 2009).

Some reflective thoughts I had from this article is that Simonetta Vespucci the believed model for Botticelli Birth of Venus is unknowingly now more famous than the likes of our modern-day celebrities who also often reveal themselves.  The portrait of Sue Tiley (an everyday civil servant) by Lucien Freud’s sold for £17.2m.

Further more next time I attend my life class I think it is interesting to find out more about the models themselves and see how this reflects into my art I believe it will put another dimension when considering drawing the nude and less objectification of the person.

I had no idea this even existed “Register of Artists’ Models existed and is good to know for future reference http://www.modelreg.co.uk/index.php

This is a very refreshing thought about the purpose of a life model that also has some connotations to why (I) we make art: “There are so many jobs that are really pointless,” she says. “Just working in an office and making money to keep a big corporation alive. But the thing I really like about working with artists is that they get so inspired by simple things – a person, or a piece of fruit. For me, it’s like they take back the things we’ve lost. Joy in nature. Joy in life.” (Simon 2009).

Euan Uglow : Measurement, proportion and composition.

Drawing is the most immediate way of making your ideas, sensations, and information explicit.

— Euan Uglow

Painting Perceptions is a really interesting website, I have tentatively had a look at random of some other artists on there too that I have noted to return to when I study Practise of Painting such as Zoey Frank http://paintingperceptions.com/interview-with-zoey-frank/

Euan Uglow a british artist (1932- 2000) http://paintingperceptions.com/euan-uglow/, use of space and form within his work is really interesting: the marks are clear and transparent that forms the figure and flesh It appears to me like an editing process that he is deciding which light, space and mark will represent each plane throughout the composition.


Fig 1  Curled nude on a stool 1982-3 Oil on canvas Euan Uglow.

From research I can see how Uglow a student of William Coldstream has been influenced by him. Euan Uglow is not an artist that I have encountered before. As Uglow always works from observation “The measuring marks over the surface of Uglow’s paintings are a distinctive feature of his work” (Groff 2010) that he leaves in incase he needs to refer to them again. It could be argued how the marks are interpreted by the viewer depending on the viewers own artistic knowledge as incidental, pretty or inspiring. To me it’s like viewing ghost lines or workings outs its all relevant to the overall process and adds to the aesthetic value. I found it really interesting to view his compositional process not only the sketches but to the real life compositional scene and how I can then use this method in my work? Does this help to the 3D process or inviting the viewer into his work? I actually find this method alone interesting as a site specific piece of art exploring line.

nuriasetup uglow

Fig 2 Set up for Nuria (Euan Uglow) 

“Some of Uglow’s still lifes have meaningful stories behind them that Uglow appeared to feel were only for him or the people close to him” (Groff, 2010) I can really relate to this as I seem to be interested in a narrative in my work. The painting Mimosa is a believed to be of a dear friends funeral flowers. Compositionally and  interestingly his drawings do not always fill the sheet of paper. His painting of  Skull 1994-7 shows structure, possible use of Golden section or other mathematical systems whilst working out the overall composition. This observation makes me want to re work assignment 2 with all these theories in mind.

The article on painting perceptions informs of Uglow’s strict ways of working and rules to allow him to paint, again I understand this need and admire his discipline.


Barnet, L. (2009) Life Modelling: and now for the nudes In: The Guardian [Online] https://www.theguardian.com/artanddesign/2009/apr/07/life-model-artists-studio (accessed 18 May 2017)

Groff, L. 2010 Euan Uglow At: http://paintingperceptions.com/euan-uglow/3/ (accessed 18 May 2017)

Simon, Z. 2009 Life Modelling: and now for the nudes In: The Guardian [Online] https://www.theguardian.com/artanddesign/2009/apr/07/life-model-artists-studio (accessed 18 May 2017)


Fig 1  Curled nude on a stool 1982-3 Oil on canvas Euan Uglow http://paintingperceptions.com/euan-uglow/3/ (accessed 18 May 2017)

Fig 2 Set up for Nuria (Euan Uglow) http://paintingperceptions.com/euan-uglow/ (accessed 18th May 2017)

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


Sketch book and Life Class Drawings

Mind Map
Figure – life class
Exeperimentation with Gesso and Gouche
Collage based on Foreshortening exercise
sketches from Figure Drawing Book
Illustrative Portrait from imagination

Below is a developed sketch of the first blue nude I did within the lifeclass. I started again on a second sheet because the foot came off the paper on this drawing. The second drawing is the Blue Nude submitted for Exercise 3 Three Figures. This was mostly about experimenting with Ink tense pencils.


A2 Water Colour pencils

Project 6 The Head

This exercise asked for a second drawing of a self portrait, however I wanted to submit this portrait I did at a recent portrait class that I attended as I was pleased with the likeness I achieved.



Final Drawing


A3 Pencil and Charcoal (Currently in an Exhibition at the Hawth Theatre in Crawley).

Quick drawings for the portrait from memory exercise.


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.


Research Point Foreshortening

I really enjoy drawing figures that envolve Foreshortening its very challenging.

“Foreshortening refers to the technique of depicting an object or human body in a picture so as to produce an illusion of projection or extension in space” (Tate).

As an experiment I used a grid to draw this image from a photograph- I think the head is too small. The other error is that the pencil indent was left on the page from using the grid. It was an interesting exercise using a grid as a back up method of checking the proportions. Its not normally a method I use.. I literally try to draw what I see so that I am training myself to see the proportions and make good judgements.


A3 Sketch book Coloured Pencil

Tate Foreshortening Art Term At: http://www.tate.org.uk/art/art-terms/f/foreshortening