Thank you to Cari, who quickly responded to my email with links to the drawings I had made for Part One of the Coursework. Here are her comments in full, followed by my reflection and response.
The “Feedback at the end of Part One” asks you to choose 10 drawings, in response to which I give you brief feedback (because it’s not a formal assignment point), but I’ve got carried away looking at them all rather than asking you to select, so here’s the feedback!
Here’s the feedback:
– Overall: You’ve developed a good range of drawings demonstrating a range of approaches and a lovely playfulness! I want more mown lawn drawings or similar! Your mark making is particularly strong and playful.
– You seem most confident with mark making and line to depict the subject but you are also starting to explore using larger swatches of media to create the image, rather than relying on linear elements to outline the information. (e.g. larger patches of media without an outline – the block of colour provides the outline.)
– The blind contour drawings in 1.4 are lovely – they capture the sense of repetition in the quilt but in a more fluid, lively manner. Consider blind touch drawings too so you try to capture what you feel rather than what you see . You can see either look at neither object nor the ground on which you are drawing, or you could look at the surface but not the object.
– I love the mown grass drawing! Yes, it’s not as successful as you’d intended but it’s a great idea. The idea of drawing by carving into tufted surfaces would be a lovely one to return to.
– The collage drawings are great – there’s evidence of a sensitive use of colour and all are really evocative of the textile techniques you are drawing from. (ex. 1.5)
– The more graphic drawings that emerged from ex. 1.6 are really striking – I look forward to seeing you work with such bold, flat colour in future, as well as continuing the more subtle approach demonstrated in 1.5.
Few suggestions to consider in future drawings:
– Vary the ground on which you work: consider darker coloured papers and alternatives to graphite / black media. For example, many of your beautiful textural mark making would look striking if made with a white chalk pastel pencil or a white chalk pen on a grey or similar coloured paper. You work well with colour, as demonstrated in 1.5 + 1.6, so start being more selective with the ground you choose to work on.
– Consider more varied drawing compositions. Your close up photos of larger drawings demonstrate the potential of zooming in to capture close up sections (of e.g. cuffs, edges, details.) Try making a viewfinder to help you explore which sections of your subject make the best compositions. (You can, if you wish, draw these test compositions as small thumbnails before choosing the ones you like best / think will be most successful.)
– Stand back regularly from your compositions and consider the scale of marks and how the composition works overall. Ex.1.4 The Quilt has a lively almost naive quality with a range of bold linear pattern and mark making – the varied scale and density of the marks made me want to see a more exaggerated scale of mark in other drawings – both larger and bolder and quieter and delicate, and both within one drawing.
My Reflection and Response to Tutor Feedback
The first thing is to rectify my error of not highlighting 10 specific drawings, but rather linking to the sets of drawings. Here are the links to the 10 drawings I should have picked, with the reasons for choosing them.
1 Quilt Blind Contour Drawing Use of large size of ground (A1); different technique explored.
2 Quilt Mark Making Drawing Use of variety of mark making tools; different ground used: tissue paper, making link with object qualities; mixture of different marks in one drawing
3 Rag Rug Mud Drawing Use of unusual tool (boot); unusual media (mud); connection to subject matter.
4 Grass Jumper Lawnmower Drawing Playful approach; use of texture; focus on outline of subject.
5 Rag Rug Collage Use of different media (paper collage; paint); introduced texture and pattern.
6 Detail Drawings of Rag Rug Use of different scale (3″ squares); graphic, exaggerated style of marks and colour.
7 Digital Flower Drawing Use of digital app and fingers on tablet screen; different types and speeds of mark making; working on bright orange background; use of colour.
8 Slug Drawing #3 Original flower drawing in flour/dog food/water is left outside overnight and altered by slugs; working on a black background; experimental approach.
9 Flower Ball #1 Drawing on a 3D surface; use of different media (papier mâché, pen, felt fabric); combined use of different types of mark (abstract, drawn and collaged); use of colour; working on bright, multi-coloured background.
10 Digital Wallpaper/Textile Design Use of software to transform and translate digital drawing into possible textile pattern.
Actions and Improvements
- Respond precisely to written instructions. I realise now that the reason for choosing 10 drawings was to show my skill in selecting work for appraisal; and also to avoid wasting my tutor’s time ploughing through dozens of images!
- Make more adventurous and unconventional drawings (eg lawn drawing).
- Practise blind touch drawings: looking at neither object nor drawing surface; or looking at drawing surface but not the object. [Two pieces practising this technique.]
- Draw by carving into tufted surfaces. [Two more pieces based on this technique:- Dipped Grass Paper Manipulation; Dense Grass Paper Manipulation.]
- Choose a greater variety of grounds to work on (eg darker papers with white media). I did make 5 drawings on black paper; one on orange (digital); one on turquoise (painted papier mâché) and one on a multi-coloured, collaged background for this part of the coursework, but I will certainly continue to expand the variety of grounds that I work on. [More works on darker paper.]
- Make more varied drawing compositions (eg capturing close-up sections). [example drawing].
- Make a viewfinder to explore different areas of interest in a subject. Draw test compositions as small thumbnails. [I have now made a number of different sizes and shapes of viewfinder in readiness!] The experimentation with small drawings is a great tip that I will certainly use in the next part of the course. [Here they are in action.]
- Stand back from work to consider overall composition and scale of marks used. [This tip is now in use!]
- Use more variation in marks made (eg larger/bolder combined with quieter/more delicate in one drawing). I agree that this would add more interest to my drawings.
Some very useful feedback that I will be implementing as I move into Part Two of the course.