Final pieces

Final pieces



The view from outside my bedroom window. I used 3B pencil to create this piece. I tried to get as much in the drawing as possible. There are a lot of varied structures outside my window. Buildings, trees and roads and off in the distance hills. The foreground holds more prespective than the background in the distance. Having the focal point in the middle of the piece. What I found most difficult with perspective pieces is getting the buildings to the proper scale. I think I was able to get that right this time.














































An arrangement of chairs all different shapes and sizes. I didn't really arrange them they were like that anyway. I didn't put too much colouring work with my pencil in because it tends to flatten the image rather than raise it out of the paper.
















































This piece I focused like in the sessions, on the relaxed natural pose. Paying close attention to the way the close hung and clung to certain parts of the body. I wanted to add a little more texture into the clothes but that would have added unnecessary shading.

Different angles and more dynamic movements. Using a soft pencil allowed for greater detail. My main focus with these was to capture the movement rather than a standing figure. Even with the standing figure I went for a difficult pose to try and expand my range when drawing.

Directed study sketches. These poses were from candid photos of celebrities. I find that they are very useful for natural poses. Showing movement or stational positions. The clothes falling and clinging. Enables to to determine what kind of material it is.

I wanted to try my hand at drawing more lively expressions, and where better to find those expressions, then from a toddler. Only problem with that is she wouldn't stay still or keep the expression for more than a few seconds. So I had to take quick photo graphs. I think I was able to capture the light-hearted and joyous facial expressions my neice was making. Using soft lines rather than harsh to keep the pieces from being too serious.

1 to 10 Minute sketches





With this one, I managed to do it without having to take a photo, she was watching tv. Using a soft pencil again I was able to draw out a natural pose from my niece, before she noticed I was drawing here then moved. The second smaller one, she was standing at the coffee table eating. She moved again. Only problem with having a baby as a model, they move too much.

5 to 10 minute sketches

Using a larger media such as a graphite stick, this allowed for greater movements across the page. But not losing out on detail. Even though this sketch was timed at 10 minutes, I still worked at a fast pace to get in all the detail I needed. Trying to keep the realism in the pose.

10 Minutes












This was 7 minutes, focusing mainly on the dramatic lighting and how it can change the emotion in the sketch. It gave Steve an almost sinister look the way the light and shadows fell on him. It was important to get them right.

7 Minutes






I felt that the more and more I was drawing Steve the less and less it looked like him. I don't particularly like this one, it's difficult for me to draw any figure facing in this direction with being right handed. And on top of that trying to do it fast. This just didn't work out too well for me. But it's good to get out of the comfort zone.

1 minute



Memory game. Looking at the features of Steve and then drawing them from memory. I feel I was probably quite good at this, for my memory for detail is quite sharp.

1 minute

All these are 1 minute sketches. Focusing on shape, angle and pose. The lighting and shading not the main objective, though I did add it in in places. This helps with determining which direction the face is leaning or looking.



Again with the graphite stick able to take bigger strokes, but with these I don't really believe that they are better than the ones I did in pencil.



















These were looking slightly too 'Hollywood' being too kind with the model as I tend to draw people in a way that wouldn't upset them. So in my sketches Steve is probably a lot younger than he really is. With full cheeks and full hair. The ones facing the left however I do prefer, it is easier for me to draw a head in that direction quickly.

This week we were focusing on colour.I think we had about 45 minutes to an hour to do the first one.I used various amounts of reds yellows and greens to create a warm skin colour. The only problem that I see now with this is the legs through the whole drawing out. I think I may have rushed to get them finished. The top is a good depiction of the models body and posture, dark reds for the shadows and yellows for the light areas.




This drawing was done in much less time, and I feel this one is probably more successful in being lively. The pose is less rigid and the quick colouring has worked out to a better advantage, with the first one I feel that I had more time trying to get the body right and then quickly doing the legs. Where as in this one I had to quickly do it all, and the proportions are much more accurate. More time doesn't necessarily mean more effective.

These two were mainly focused on drapery, looking at the way the cloth fell and laid over the body. This I feel was easy for me, I draw alot of figures with clothes on and I have a great understanding of how material falls over objects. These I feel were probably the most successful from this session.














Which these we were looking into less static poses, a little bit more dynamic. I found that getting them drawn quickly was an easy feat, using a soft pencil for quick work











This last one, we had to measure. I rarely do this, because it doesn't work for me. My eye measures and my mind connects things that weigh against each other. Measuring with the thumb and pencil doesn't work for me, my figure looks rigid and unnatural. I don't like this at all. I feel it is less active for how the model was standing.

Looking at cars and mechinary at the Bradford Industrial Museum. I looked at two cars, they were parked next to each other giving me a slightly difficult composition.
I used charcoal pencils for this as I am able to work fast but still adding in all the detail I need. Charcoal is one of my favourite mediums to use.

Oil Pastels only using two colours, Pink for shadows and Orange for lighting. We were looking at distances from the roof of the university building. When doing great distances I prefer to use water colours, but we weren't in the best place for that so I went for oil pastels and charcoal. I feel I were able to create a nice line to show the slops and dips of the Bradford landscape




















Taking a closer look at the spire from the church using charcoal pencils, creating detail and depth.



I prefer this landscape rendition in contrast with the oil pastels, it shows a lot more volume in the sketch, showing better distance. The oil pastels are a solid colour no matter how much pressure you use the colour doesn't vary much, unlike charcoal there are many different pitches of colour and shade you can get, just by changing the ammount of pressure used.

The new building on the University. We were mainly focusing on the structure and curvature of the building, filling the page as much as possible. Using charcoal again I was able to create a very successful piece one which depicted the scale of the building.