Having reviewed my drawing and mark making work so far on the course, these are my thoughts on what worked and what I need to practise and improve upon.
I felt that I had been experimental with regards to the range of media used (traditional paints, charcoal, pencil, ink, felt pens, etc, and less traditional: mud, mown grass, slug trails and flour, flower seeds, glue, etc); tools (such as feathers, a boot, fingers, paintbrushes, a bunch of sticks, etc); and the types and sizes of grounds that I had worked on (3-D surfaces, digital screens, and everything from tissue paper to corrugated cardboard, 1″ square drawings to A1 size – larger for the lawn drawing).
I had explored various lighting options (daylight, to a dark room lit with a faint red light) and compositions (extreme close-ups to full views of the arrangement, drawings focusing on form, outline, texture, pattern, colour); and techniques (spoken word, digital drawing, blind contour drawing, blind touch drawing, both fast, and more detailed drawings, simple, printed images, abstract and more representational drawings, hand sewn and machine sewn, collage, etc).
I did not always link the observed source to an appropriate ground and/or media.
Looking back at the drawings from Part 1, some of them were rather similar. This was partly due to the museum only allowing pencil next to the exhibits, but some of them were made later, at home – lots of pencil, charcoal, and ink on white paper – rather safe and boring, however, I may still find this a good starting point!
As well as using white or black grounds, Cari recommends using more subtle combinations, such as white media on grey grounds, which I have taken on board in more recent coursework.
Including more variety in the compositions is certainly something I need to aim for (close-ups, small thumbnails to test compositions, perhaps including some background or other objects to give context).
There was a lack of variety in marks made within one drawing. Standing back to get an overview of work in progress and looking at the scale and type of marks I have used needs more attention. Using different densities of mark and a mix of bold/strong/large marks with small/quiet/delicate marks combined in one drawing is something I need to work on.
The quantity of sketchbook work, developmental (eg, testing different compositions), analytical and evaluative drawing needs to increase, as does drawing for proposing potential developments of the work.
I have made a summary of reminder notes, covering drawing, in this article, which I will refer to in the forthcoming projects.