BRIEF

Using toned paper and charcoal mediums, render a detailed study of a space using techniques and principles learned in class (i.e.: tonal values, composition, tension and release of space, handling charcoal as a medium).

RESPONSE

CRITIQUE (SELF-ANALYSIS)

Q: Why did you choose to draw what you did?
A: I thought the subject matter and planes were framed in an interesting angle and perspective, especially with the hole in the front-facing wall providing a sense of frame within a frame. The objects and their arrangements were also of a peculiar nature (they were already in this state when I found my space to draw) and thus I thought it would be an interesting attempt to depict this living space.

Q: What challenges did you set for yourself to achieve?
A: One challenge I had posed to myself and stuck through until completion was relying solely on the technique of toning and erasing the paper and charcoal. It was an uncomfortable challenge for me, as I am heavily reliant and used to first outlining and making shapes and forms instead. As expected, the outcome is not as strictly accurate as I would like it to be, but its stylisation is evident of my attempt at a different technique.

Another challenge would be the range of tonal values used. I purposely did my assignment in day time where the sunlight hits the brightest. This is so that I could get most of my composition to face harsh or similar bright lighting. I thought it would be interesting to attempt to differentiate the minute differences and shifts in tonal values and highlights within.

Q: What do you think you were able to achieve? What would you like to continue to work on if you had more time?
A: I think I was able to achieve a good sense of proportion and perspective. Although, both could still be further improved and more accurately documented as I am still not fully comfortable with the toning and erasure method of drawing. I would love to continue working on adding finer details (i.e.: on the items on the table top, wall textures, chair textures, floor tiles, etc) and finer outlines to better define my elements and allow them to stand out sharper.

 

CRITIQUE (PEER EVALUATION)

Q: What is the most striking thing that you can name in the image? What kind of drawing are you seeing?
A: What stands out the most is the distinctive shift in perspective planes in the walls. Speakers stand out too, but looking at the image as a whole, the walls stand out more.

Q: What are you observing in terms of subject matter, narrative?
A: Ordinary, arranged simply, cataloging of elements in a neat set-up, as if fabricated, unnatural. The narrative is hard to develop unless its about catalogues/designs.

Q: How do the aesthetics of the drawing appear? Do they seem naturalistic or contrived? Honest or fabricated?
A: Contrived arrangement of still life, controlled strokes and drawing techniques. Tightly rendered, still. Looking for more design in line work and erasure techniques. Lacking in texture, spontaneity, lacking a layer of detail.

Q: What area of the drawing can you tell the artist was heavily invested in? How do you know? What part did the artist seem to linger in? Does that make it seem like they were particularly interested in that area? How do you know?
A: Detailed (rendering) of desks and speakers (is evident of) time spent.

Q: Are there areas that might profit from more attention or dedicated looking from the artist? What are they and why?
A: Light side of composition has large spaces and big moments. Cannot identify diamond element on the wall, too vague. How it can be developed is to provoke something in the composition.

Q: What can you say about the composition? How do you think the artist used composition design to create meaning? Be specific and use examples.
A: Perspective shift in walls. Logically arranged items, feels accurate. Adjacent items placed well, also tells of how tall artist is.

Q: How do you think the artist tried to challenge themselves? What drawing, narrative or design challenges do you see and how do you know?
A: Complicated shapes such as speakers and chairs has a challenge of not having exact alignments.

Q: How would you challenge this artist moving forward? What would you suggest might increase the power or meaning in the artwork?
A: (Develop) a better indication of light source and cast shadows. Be more intentionally narrative, (push for a ) sense of character and space with detail and attention with how they’re arranged tracing human activity. (Attempt to) gauge reaction through artist’s intention and audience interest. Blankness of walls and floors can be further manipulated with texture since focal objects are already simple.

Q: What artists or designers would you suggest this artist to look at for inspiration? What about those artists seems relevant to you?
A:
Art Mortimer: Manipulation of blank spaces with details to make it interesting.
Vermeer: How he handles walls, floors, tight spaces, still life.
Euan Uglow: How he deals with simplistic shapes and how he deals with simple plane changes (with colour).