Week 5: Proportion- Quick Sketch 3

This is another 1 minute anatomy sketch using pencil. The focus in this image was pose and proportion. A vantage point was chosen of the model that would allow the models pose to be conveyed with good angles for tonal values, and for the action of raised clenched fists, to be in clear view. The models hands are a focal point that follows the line of sight down the models open torso and legs which are in contrast with the fists which are more closed.

It represents pose and gesture well, but the proportion is also done well to follow the rule of 8 heads per normal sized man. It's clearly visible and the shading helps show off the position and stance the model is in. Other than the arms, the models pose is in a very open state and because of this, the model is in clear open natural light, this gives of the light vision in the image except for the underarm where is the only place shielded from the light source. The light is also used to convey body structure and muscle tone.

Week 5: Proportion- Quick Sketch 2

This is a 20 minute anatomy sketch focusing on the proportions of a sat down model using pencil. The main focus was on the proportion and pose of the model. A vantage point was chosen of the model that would represent tone and light well. The pose the model uses is very closed as the whole body seems tightened up with the arm as the primary cause; wrapped around the leg holding it in. Though as he is stretched out some areas are also very open introducing lighter tonal values and contrasting them with the darkened closed areas. 

The shading technique was used to further establish the closed gesture by contrasting how the inner areas of the model are much darker and hidden, compared to the much lighter outer area of the body. The light also creates an almost curve within the body, following a portrait line a sight, from the neck downwards to the slightly shaded areas that curve. The further down the body the light travels, the more emphasis there is on the curve of the spine. To improve, the legs are slightly out of proportion with the arms and adding a bit more shading in the facial area will help further elaborate the closed body feel.

Week 5: Proportion- Quick Sketch 1

This is a pair of quick 1 minute anatomy sketches done in pencil. The main focus was on the proportion and had some relation to pose. The primary focus was on contrasting how the model looks with a curve and stood straight. The model standing upright is much more in proportion than the other, as the proportion of the models curved position, especially around the shoulder, arm and down the torso is slightly off. In general they go well together and both depict the focus points well.

Tone and shading isn't elaborated on too much, though the shading does work in the first of the two as it helps further emphasise the slight twist the figure has. Although the model is stood straight, there is still a slight twist across the entire body from the legs to the waste to the neck. The shading is clearer as the body's tonal values differ depending on the way it's twisted. This is also apparent on the left leg as the shading here helps enforce a form and shape to the leg implying the twist in the body has this leg positioned further back signifying a slight sense of a background and foreground.

Week 4: Foreshortening and Oblique Angles- Finished Sketch

This drawing is a 30 minute finished pencil sketch of a skeleton set-up to signify foreshortening and oblique angles. A low vantage point was chosen to establish perspective as the skeleton foreshortens from the hips to the skull. The main focus was on how it foreshortens within oblique angles, particularly emphasised within the rib-cage area. The vantage point also creates and interesting line for the viewer to follow up the skeleton. The spine also contains an interesting curve which balances the tonal values and the depth of each bone as they become foreshortened the closer to the skull they are.

The shading in this drawing, particularly around the skull and rib-cage, helps represent the direction of the light in the room and how this develops foreshortening further. It really helps define the difference in distance by signifying to the viewer where the light is hitting and where it isn't. It also helps shape the skeleton, especially on the skull where indents are slightly visible due to the lighting.

The skeletons lack of legs represents bad practice as this loses some of the foreshortening the rest of the skeleton would have introduced. With overcompensating on the rest of the upper body the legs would have been out of proportion, and were left out which may have slightly degraded the image.

Week 3: Composition- Quick Sketch 2

This is a second collaboration of 1 minute sketches consisting of multiple still-life set ups. The main focus is again on composition and how the arrangement of objects works well together. They all have different vantage points that show off the certain characteristics of tonal and textural values in each composition. The lower left image with the two bouquets of flowers arranged opposite each other in particular has an interesting line of sight which falls across the drawing to allow the viewer's gazes to wander. In the other compositions the line of sight is primarily either straight across landscape or straight down portrait.

This image contains more viewer interest, because it's spread evenly across the page. From the vase in the upper left to the flowers in the lower right. From these two focal points there is something to attract the gaze of the viewer, similar to the sketch above which also allows the eye to wander from one side to another. As for the two on the right these two are much tighter and all the objects are closer together kissing, creating a single gaze focal point on each.

Detail on the composition contrasted with the shading again brings up slight concern for improvement, as the compositions lose balance with each other due to the lack of this detail. The shading in some areas also raises concern, as it leads from a darkened area straight into a white area with no balancing of tonal values causing uncertain perspective.

Week 3: Composition- Quick Sketch 1

This drawing is a collaboration of 1 minute sketches of a variety of still-life set ups. In each, the main focus is on composition and how the arrangement of objects works well together. Each sketch has an interesting vantage point that differs from one another in terms of light and tonal values and makes each composition appealing. The simplicity of the first one consisting of a large bottle and a flower in a vase, contrasts well against the busier top one, consisting of the same bottle, vase and flower but with an additional small jug and cylinder container.

Within these three compositions line of sight is used and differs between each, from straight down through the middle in the first and third composition, whilst the second uses a V-shape, from the jug, to the small tin, back up to the flowers. With this sketch the eye is allowed to wander across these differently sized objects whereas in the first and last one it's simpler and the vantage point is more fixed.

With more time improvements could have been made such as more intricate detail on the composition and the use of shading in some areas. The drapery introduces depth into each composition but could also be improved by introducing detail in the foreground and background instead of keeping them moot. The shape and form of the objects could also be more proportionally correct, to further emphasise a visually appealing composition. 

Week 2: Shape and Form- Finished Sketch

This drawing is a 30 minute finished sketch of a still-life set up using pencil. The main focus was on the shape, form and composition of objects and a main focal point was chosen that would allow the eyes to follow a centre line through all of the objects and the entirety of the drapery. An implied line is also formed from the height of the objects, starting from the tall shiny vase, and moving down towards the square tube, thick jug and finally the less intricate jug. The focal points of the drapery are the most dominant in the sketch, emphasising both the amount of drapery and contrasting that with the size of the objects. 

Tone is successful in this piece as the technique is used well to signify where each object sits with the other and although they aren't physically touching, the lustrous texture of the vase reflects light across the set-up which substantially brings the objects closer together. This is slightly, overly signified upon as the drapery is too dominant and out of proportion slightly with the objects. The composition is visually pleasing yet it lacks certain detail in the main focal point of the set-up. This would be improved on and more detail would be included with extended time, to allow the composition to be more visually stimulating.