Project 1.2 Drawing from Memory and Drawing Blind

Ex: Drawing from Memory

I was surprised how much detail I remembered.  Perhaps this is from the build up of the course so far and learning to really look at an object, not just what you think you see?

With hindsight I needed to look more closely at the perspective, but this is something I’m not very familiar with yet.

With only five minutes I was also feeling like I needed to rush.

Drawing from Memory

Drawing from Memory

Ex: Drawing Blind

Having looked at Claude Heath‘s work and read articles about him and quotes form him I was really trying to be aware of the feel of the object with my eyes; the sharp edges which cut on the grater, where the metal folds into curves and the roundness of the handle.

I’m pleased with the individual elements, but obviously they don’t line up, as I wasn’t doing continuous line drawing, and wasn’t looking at what I was drawing.  But I do feel like you can see the real contours of the object; certainly better than when I was doing the contour drawing exercise.

From reading articles about Claude Heath’s approach it seems to work for me to really feel the object with your eyes.  Perhaps it creates a better, more conscious, connection between the eyes and the hand?  I think this will be something I will try and incorporate into my observational drawing in future, trying to feel the object with my eyes.

Drawing Blind

Drawing Blind

Drawing Blind and from Memory object

Drawing Blind and from Memory object

Project 1.2 Contour Drawing

Ex: Contour Drawing

This was harder than I imagined, but not in the way I expected.  Rather than struggling with a realistic likeness, the thing I struggled most with was only drawing the contour, not the rest of the object.  I must be used to drawing the other bits of the object as well as the outside.

Getting everything to meet up, where it should be was difficult, especially with not being able to take the pen off the paper.  I also found my hand got in the way.

Looking back at the sheets I’m not sure there was a great deal of improvement through the seven sheets and 26 drawings.  The early ones seem as good.  Not sure what that says about how I did the exercise.

The hardest thing was really getting everything in place while just drawing the outline, such as the spout lined up with the top of the handle, while the top and bottom of the spout and handles lined up with each other.

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Ex: Blind Contour Drawing

It felt like the pressure was off in this exercise.  Because I couldn’t see what I was drawing, I wasn’t worrying about whether it was all lined up or a true likeness. As a result I enjoyed this more than the ordinary contour drawing exercise.

I started each of the drawings in a different place on the object to see if it would change the outcome, but looking at the sheet they all look like replicas of the same object; which is good.

I wonder what would have happened if I hadn’t drawn the object 26 times already?  Would this have affected the blind drawing? I think probably.  I was more comfortable drawing the object as I had been looking at it for so long.

Ex Blind Contour Drawing

Ex Blind Contour Drawing

Reflection on Contour Drawing

I enjoyed drawing the blind drawing more, but probably because it felt like the pressure was off.

It doesn’t seem like there is much different between the two exercises as representation of the teapot, which I worry about what it says about my observational drawing skills!

How much will I use this type of drawing? Not sure, much.  It seemed alien to be just concentrating on the outline, but I understand this was about observational skills mostly.


Project 1.1 Fracture and Dramatic Marks Part 2

Exercise: Dramatic Marks


Base layer of black laid down in compressed charcoal, rubbed in.  Marks made with putty rubber lifting out colour and additional marks on top with willow charcoal.  Continued process of lifting out and adding charcoal.

I like the variety in the depth of the tones of black and the strength and softness of the different lines.  It reminds me of a dramatic snow-filled storm on a winter night.

Ex 1.1 Dramatic Effect Charcoal

Ex 1.1 Dramatic Effect Charcoal

Pencil and Graphite Stick

4B Graphite Stick to lay down the base layer, then 6B pencil and graphite stick used to add marks, putty rubber and ordinary rubber used to lift out marks.

At the start of this exercise I wasn’t happy with the effect as it seemed much less dramatic than the charcoal piece.  However, with continued working and using the ordinary rubber as well, I think the dramatic effect improved.

The putty rubber didn’t seem to lift out as much as I expected.  I expected it to be more like an ordinary rubber, to be able to completely remove any colour or line, but it didn’t seem as defined as this.

Ex 1.1 Dramatic Effect Graphite Stick and Pencil

Ex 1.1 Dramatic Effect Graphite Stick and Pencil


Project 1.1 Fractured and Dramatic Marks Part 1

Exercise: Fracture Marks

Part a:

Sheet 1:

quick angled strokes of various pressures – reminds me of claw marks of wild animals

Ex 1.1 a. Sheet 1

Ex 1.1 a. Sheet 1

Sheet 5:

Short dots and stabbing marks made with various edges – reminds me of stamped cards

Ex1.1 a. Sheet 5

Ex1.1 a. Sheet 5

Sheet 10:

soft sweeps on flat side and short staccato dots with long edge – reminds me of an abstract paining (but not sure which artist)

Ex1.1 a. Sheet 10

Ex1.1 a. Sheet 10

Part b:

I like the effect of the willow charcoal – it seems a softer colour (shade/tone?) than the compressed charcoal .

The putty rubber can soften dark colours, blur edges, lighten patches of dark and spread the area of colour outside in a smudged effect.

Ex 1.1 b. Willow Charcoal & Putty Rubber

Ex 1.1 b. Willow Charcoal & Putty Rubber

Part c:

Used waterproof as well as non waterproof ink by mistake, as I wasn’t sure if they were or not.

With non-waterproof fountain pen with a brush with water on top, can almost completely remove the marks of the fountain pen.

Ink with a brush and then using a brush with water on top spreads the colour more thinly, making it a paler version where you spread it on plain paper.

Ink on a wet piece makes a lovely ink-blotch mark with feathered edges.

Ex 1.1 c. Ink with brush and penqEx 1.1 c. Ink with brush and pen

Ex 1.1 c. Ink with brush and pen

Warm Up Exercises Reflection

I enjoyed looking at different ways of mark-making, with media I’ve never used before and on a scale I’m not used to.  I felt it not only freed me physically out of the small-scale sketchbook confines, but also mentally to get me thinking different about mark-making and scale.

I particularly enjoyed working in a repetitive way, creating through adding layer upon layer, which had been something I enjoyed while I was on the early stages of the Pre-Textiles course.

These exercises has also created an interest in how you can come up with interesting marks unintentionally.  As yet I don’t know how you would or could use this in drawing or art, or if it is just a happy accident.  Would any artist admit to a happy accident?

The Tom Marioni ‘Action Drawing’ and zen-like drawing was new to me, but it reminded me, through the repetition of lines of some of Henry Moore’s sketches, particularly the ‘The Shelter Drawings’.

Project 0.3 Using your fingers, wrists, elbow and shoulder

Exercise: Fingers and Wrist

There seems to be so little control drawing like this.  It is the most child-like result created so far.

Ex0.3 Fingers and Wrist

Ex0.3 Fingers and Wrist

Exercise: At Arm’s Length

Having watch Tom Marioni’s video ‘Action Drawings’ before beginning this exercise I could see the connection with the ‘zen-like concentration on mark making.’ I liked the effect which was created, reminding me of the woods and tree trunks I want to draw.  Also at each end of the stroke where it ran out different effects were created; ribbon-like at the bottom and seaweed-like at the top.


Ex0.3 At Arm's Length

Ex0.3 At Arm’s Length

Ex0.3 At Arm's Length Close up of bottom

Ex0.3 At Arm’s Length Close up of bottom

Ex0.3 At Arm's Length Close up of top

Ex0.3 At Arm’s Length Close up of top

Exercise: Using Your Shoulder

This felt more zen-like as the breaks to swap hands or directions flowed better.  The circles themselves aren’t that regular though, which I would have expected.

I would like to try this on a much larger scale, perhaps including slight movement left and right, up and down and layering circle on circle, like a vast Venn diagram.

Ex0.3 Using your shoulder

Ex0.3 Using your shoulder

Ex0.3 Using your shoulder close up

Ex0.3 Using your shoulder close up

Ex0.3 Using your shoulder close up different effects

Ex0.3 Using your shoulder close up different effects


Project 0.2 Drawing in short and long bursts

Exercise: Short Bursts

The marks look like claw marks on the paper.

When I changed sides I didn’t move, so the left side of the centre is done using the left hand and the right the right hand.  There is little difference in execution between each hand.

As the charcoal wore down the marks achieved changed and it is almost as if each mark was made with a different part of the charcoal.

Ex 0.2 Short Bursts with charcoal left hand and right hand

Ex 0.2 Short Bursts with charcoal left hand and right hand

Ex 0.2 Short Bursts Close Up

Ex 0.2 Short Bursts Close Up

Exercise: Long Bursts

The two sides of the paper were such a mirror of the other that I decided to try to keep to that.  I repeated each left hand action with the same on the opposite side with my opposite hand.

With the top half it was easy to draw smooth grass type curves, but this was harder to create on the bottom half at the height I was at in relation to the paper.  This bottom half became a much harsher and harder mix of straight lines, again mirrored on each side.  Even the softer wide edge of the charcoal didn’t seem to soften it much.

willow charcoal mark making

Final A1 sheet of long and short bursts exercise with willow charcoal