‘I don’t want to see you drawing a line, draw shapes and tones
you are not allowed to use an eraser’.
Black and white
crayons on brown paper or black. Look at the negative space and compare
positions and distances. See corresponding shapes and don’t assume you know
what the body looks like. Foreshortening creates very interesting drawings and
the distortion allows you to draw what you see and not let your brain take
over.
After exercises
with photos, we had a life model
Roger teaches
you a new way of looking at things, something we all know instinctively but
don’t think about, the results are
impressive and we (the students) where
happily surprised with the very rapid outcomes. I appreciate his forthrightness
and plain speaking and his wonderful eye that can pick up quickly what would
improve a painting. The only thing we don’t see eye to eye on is I tend to like
rules to do things by so anarchy is held at bay. Roger wants to break every
rule there is (Don’t do Catherine Hayes class and Rogers in the same term) I
think he may be an anarchist in disguise.
Choose a topic
and draw them often. I chose my dogs they are always around and don’t mind my
study of them. Use tension or focus to
allow the eye journey around the piece, do not put everything in sharp focus.
Robert is TLC’s
resident artist, known internationally, he is kind, open and so willing to
share his immense knowledge. Although he paints what he feels and dreams and I
paint what is in front of me, his
ongoing encouragement to look beyond the obvious and not to give the viewer of my
art the complete picture (allow them to fill in some of the blanks on their own)
stops me from being a nit picking perfectionist .
Tuesday – Dan Wilkinson – Dry Media Magic
‘Trust not to Know’ Robert Frankin
Comfortable
with the tutor but not colour paint yet, pastels give me some lovely pieces
quickly, I had an old range of pastels that Dan said were ‘a lovely example of
80’s colours’ I chose not to buy new and use what I had anyway. He provides
many different live and still life studies to experiment with glass and cloth
being a challenge.
Not a beginner any more but not quite at the next level either, I
enjoyed the exercises and having a model every week was wonderful.
- Step back space to get perspective, to look at
overall progress.- In a gallery situation people will see the work from a
distance first.- Position the easel with natural light behind you. - Really
engage and look at overall shapes to get composition right, use a pencil for
layout - negative composition. - Use
pencil length to get head shape, eye nose lips and chin position relating head
to hands.- Relate both eye s, eye width
between them, another eye width to head width.
100 stroke painting! Working in a team of two you have the task of
painting a portrait in one hundred while your partner counts your brush
strokes, giving you fair warning when you only have ten left to use. It was
great fun, teaching you to not sweat the small stuff, make your strokes long
and large, using a lot of paint.
I made a lot of mistakes but enjoyed the whole process, using an
easel, prepared board , a bucket, a pallet, paynes grey, black and white
acrylic.
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