Feedback on Assessment One

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This blog post will cover the sticking points and follow up research that came out of my tutor’s FEED-back from Assignment 1. 

John Minton Vs. Angela Dalinger (Historical Context)

My frozen Lake Minnewanka, compared to the drawings of Edvard Munch.

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Edvard Munch Bjornson in Norweigan cultural life caricature 1891

I found this little nugget of insight interesting – I didn’t realise quite how rough his drawing work was, or how dark (in context.) Should have guessed really, being famous for ‘The Scream’ and having that infamous Norwegian sensibility.

My tutor also suggested that I re-frame my pastiche of Angela Dalinger’s work into a series of vignettes, so that the characters (and their actions) could be seen more clearly. Although the original composition was intentional, to mimic Dalinger’s own work, this was a really good suggestion. This was a very good idea, particularly because the picture quality of my work was very poor – due to using a crappy, ancient scanner that takes 10 minutes to scan one page in the following options: blurry, slightly more blurry, or one big grey blur.

I took these follow up shots on my phone to zoom in on the previously hidden details of the characters.

{INSERT SERIES OF 3-5 CLOSE UP VIGNETTES HERE}

The Key Is Communication (Project)

  • Clearly understand the way illustration works alongside text
  • Produced an intriguing image of Hugh Hefner, with a very good likeness.
  • Flagged up the issue of trying to achieve a ‘finished drawing’
  • Suggested looking at the work of Rachel Goodyear – who uses pencil and clean white space.
  • Also suggested looking at the work of Beatrice Alemagna (whom I am previously acquainted with, and a big fan of…) who’s use of pencil drawing is brought together with other media and the line if often increased in scale.

Rachel Goodyear Visual Research

This is very simple and effective way of making a drawing look “finished” and dynamic/clean. I would like to experiment with this bold use of white space in future projects, but am aware that they rely on a very strong/detailed drawing to draw you in.

Beatrice Alemagna Visual Research

There is something very childlike about Alemagna’s work. Something spontaneous and playful, that perhaps stems from her lack of Arts Education, or perhaps just her unbridled imagination and passion for the subject. I find it very engaging and already own a couple of her books.

“The best ideas come to me when I am in bed.”                                                                                                  “I like mixed media because it looks unstable, mobile and seizable.”                                          “Drawings made by different techniques are intriguing, mysterious. They make me feel different sensations. I like that.”

To submit or not to submit (for assessment)

This is something I have been thinking more and more about. I will have to discuss this further with my tutor, but I may well submit for assessment – to give myself a level of accountability that I struggle to give myself otherwise.

Feedback on Assignment 1 – ‘Say Hello’

‘There is a real fluency with your drawing which is excellent, in terms of generating a range of ideas and also bringing character and action to all the elements.’

Cool.

My tutor then raises the point, how could I convert the line drawings (from my postcard ideas) into finished postcards? He suggested scanning them in and colouring them to see what happens when I start to contextualise them as finished pieces. I will go back to this at a later stage to experiment with this idea.

‘The cinema foyer illustration is great.’

‘The overall flat but slightly wonky feel of the gouache chimes very well with your interest in Outsider Art.’

‘It might be interesting to see what happens if you start illustrating with these materials as part of your development process… in a similarly immediate way as your drawings.’

In response to making a point that I “agonised” over the first assignment in general, my Tutor reminded me, ‘You don’t need to give yourself a hard time over this.’ Which was reassuring to hear. Almost as reassuring as his complimentary words about my work.

Something I should definitely remember to take forward into the next part of this project* is the following piece of advice:

‘Give yourself permission to start from scratch, work in new ways and allow yourself to make mistakes.’

Make that general life advice*

Sketchbooks

I have not kept a sketchbook up until now, because most of my work is writing and that is kept in a folder, in amongst a few sporadic drawings, but this is definitely something to consider and start organising.

‘Sketchbooks could be a pivotal aspect of your practice, given your fluency with drawing and the immediacy with which you are exploring your ideas.

See it as a space to support your project work but also as a space to play and experiment away from your projects… What can you develop in your sketchbooks which you can then bring to your projects.’

Weaknesses

My tutor was keen to know what I thought my weaknesses were (in terms of drawing), as I had previously mentioned in one of my blog posts.

I think my weaknesses are:

Suggested Viewing/ Reading

  • At some stage it might be worth exploring how your illustrations can become 3-Dimensional
  • Folk Art/ Outside Art (from Tumblr) is a clear influence on your work – http://pensarefriends.tumblr.com/
  • Look at Alfred Wallis
  • Look at Makato Okawa – http://outsidein.org.uk/Makoto-Okawa
  • More in depth look at process —> Rose Wylie (83 year old artist) in how they translate and condense ideas into visual forms, the stages they go through to get to such a roughly finished outcome.
  • Similarly, you could ask the same question of Quentin Blake https://www.youtube.com/watch?v=06rYXkIhBtY

My own further research based on these suggestions:

Yann Kebbi – http://www.yannkebbi.fr

3D: Elsa  Dray-Farges  http://elsadray-farges.com/Work

http://www.handmadecharlotte.com/diy-halloween-masks/

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