Studio Practice

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What is Drawing?

Here is a link to a really interesting article by Faye Hall from the OCA that discusses what drawing is and how others perceive it:

As much as my degree progress’ I will strive to perfect techniques and have already started to explore how different media works together. This article has reiterated to me that I really want to push my own boundaries and discover what drawing means to me, discovering new idea’s and concepts.


Analysis of Giacometti, Diebenkorn and Degas

After writing this blog post about paint being used like drawing after visiting the Tate’s Giacometti exhibition: Expressive Figures and Giacometti Exhibition (Drawing or Painting)  My tutor wanted me to “Revisit your research on Degas, Giacometti and Diebenkorn to more closely look at and analyse the use of line, colour and mark-making and the visual dynamics of composition / ‘picture-making’. Make notes and post to your log”.

The images above are all using a limited palate of colour, there is limited tone with the exception of Diebenkorns picture that uses a lighter grey that could be argued for tonal qualities or contrast. they focusing on a sombre, darker, muted colour range.

All of the images have a clear centre within the image with use of diagonal lines within the visual dynamics of the composition. The position in the Degas and the Diebenkorn image portray an S-shaped composition (similarly to a s shaped landscape composition) that pulls the viewer into the image. Giacometti’s composition is more shaped based, with 3 columns or divisions of thirds of the entire image. I have refered back my research that I have done here relating to still life composition and Giorgio Morandi where I now see a link with Giacometti and Morandi:   Instantly I have thought of the rule of thirds that relates to the Giacometti composition to centre the figure in the painting:  Although all three images could have the rule of thirds applied within the design. With the Diebenkorn image there is a more iconic use of composition forming with the use of line crossing and indication a foreground, middle and background. Its harder to interpret with the image of the Giacometti but Diebenkorn has a strong use of pattern and some pattern within parts of the Degas. The Degas has the strongest representation of texture however in all the images the texture is representational not realistic or intricately drawn but the lines still have a quality that isn’t dismissive of texture completely (the paint has texture with Giacometti). There is texture is in the lines. The lines are longer and bold in Diebenkorn with Giacometti shorter and painterly but Degas are much shorter with them connecting in places to form a bolder longer line. Mixture of soft and hard lines all together. Another interesting article for future reference material:

Looking reflectively at the visual dynamics although I have used it within my work I would like to do more research into it. This article touches on it slightly although is non academic, will find further academic research into the visual dynamics of composition to enhance my work. I will spend more time reflecting on this before undertaking the figure (and other) compositions in Practice of Painting. It is also evudently used within the magic of Lucien Freuds paintings that I have just viewed of Leigh Bowery.

Fig 1 After the bath 1900 Edgar Degas (accessed 13/07/17).

Fig 2 Caroline 1965 Alberto Giacometti (accessed 13/07/17).

Fig 3  Rich Johnson Thursday Morning Life Drawing Class (undated). 13/07/17).

Fig 4 Seated Nude 1966 Richard DiebenKorn (accessed 13/07/17).

Assignment 5 Tutor Reccomended Reading/ Viewing- John Coplan

Researching John Coplans  “Third Age of Man” images bought results in a summary of Photographic Self Portraits and cropped close up’s of the Human Figure. Viewing these images helps me reflects further how to deal with age within my drawings.  The images of an older male is an interesting subject as society as a whole is generally derogative towards self-image as we age. Reflecting on viewing the images I find them beautiful, innocent and an unassuming representation of  human form in an everyday or aging sense. Even though the images are cropped, I still visualise the rest of the human figure that I suspect is purposeful or to provide a narrative. The images remind me of hyper realistic or charcoal drawing.

From research there are a couple of points that have given further reflection “Coplans deliberately avoids any kind of pose or gesture which may communicate a familiar message.” (Tate, 2017). “focuses on more ambiguous physical properties” (Tate 2017).      In relation to my reclining man piece drawing , and other human drawings I have completed have always been purposefully posed. Drawing from Life class especially, although I have thought about the pose in an aesthetic sense, I hadn’t thought about in from a body language or communicative sense. It is interesting thought the message the pose of the figure can send about the image, or drawing. The article discusses a universal language of how the human body communicates subconsciously. Elements of Primitivism.  Finally John Coplan in these works never photographs the face.

Fig 1 John Coplan Self Portrait Freize No 2 Four Panels 1994 Photograph, Black and white paper Silver Gelatin Print.

I have chosen the above image as it stands out to me as the photograph has captured the aging body, dark wire hairs and skin that is sagging and is wrinkling in place. I like how the sections of each photograph are juxtaposed slightly wonky and what this implies. He has made the aging body a fascinating subject.

Fig 1 John Coplan Self Portrait Freize No 2 Four Panels 1994 (Accessed 2/9/2017).

Tate 2017 John Coplan 1985 Self Portrait (Hand Spread on knees) (Accessed 2/9/2017).


Tate 2017 John Coplan 1984 Self Portrait (Torso Front) 2/9/2017).






Personal Project- Ifield Millpond.

For the past six weeks to help continued to draw on a regular basis before starting The Practise of Painting  I have been attending a local drawing group who walk around and draw local beauty spots. This time it was the Ifield Mill Pond in Crawley, which is rich in history and has been recently been renovated.

I particularly enjoyed this group as it focused on natural surroundings which is not a subject I automatically deviated towards during drawing 1. It has been so nice to just sketch, focusing on improving my pencil technique and practise observational skills. Additionally got refreshed on making a sketch book from sugar paper. The drawings which are everything from 2 or 5 minute sketches (timed) and further developed sketches will be exhibited on the 17th September at The Ifield Mill.




A Final Thought…

I recently read Wall and Piece, by Banksy I enjoy his quotes and philosophy on life as much as his art. I also love his boldness and self promoting by adding his work to the Tate or the Natural History Museum along with the many walls of the world. Spray paint is something I would like to explore at a later date. Here is my favourite quote from Wall and Piece to end Assignment 5. Something I will continue to do, learn to draw, in the many different ways possible:

“All artists are willing to suffer for their work. But why are so few prepared
to learn to draw?” (Banksy 2006).






Bansy, 2006  Wall and Piece, Century Publishing.

Other Reading and Research

Banksy Wall and Piece Century 2006

Greyson Perry Divided Britain this was more a political program which was fascinating to watch how he used social media to research into the context of the Vases that he created to represent divided Britain after the EU referendum.

Tim Marlows Arts Greatest failures Inspiring to see how even masterpieces such as Leonardo di Vinci’s Last Super now only has 20% of the original painting left which was painted  by Di Vinci due to restoration and his original experimentation of paint. The programme recapped questions about context and what is art which I covered extensively when studying Creative Arts Today.

Adventure of the Black Square review Art that aimed to change the world

Bridget Riley, Optical Art born 1931

Visit to the Welcome Collection, London. 30th June 2017 ( Notably linking back to part 1 &2 Medicine Man and Medicine now).

Tate Modern general collection (notably Andy Warhol and Guerilla Girls work) 30th June 2017.

Elizabeth Peyton, Section Eight Drawing Now Eight propositions, The Museum of Modern Art Laura Hoptman (particularly coloured pencil drawings).