OCA Drawing 1 Learning Log (Original) | My journey through the drawing course at the Open College of the Arts

More Artists: Georg Kolbe

By patriciakarsten | Published: October 4, 2013

Georg Kolbe (1877 – 1947) was a German painter and sculptor. I saw one of his drawings in the textbook on drawing the human figure by Gottfried Bammes which I studied for the research point on structure. I was impressed by the energy and lightness of these drawings.

Reading the Wikipedia article on Kolbe, I realized that he was mainly known for his sculptures. He seems to have concentrated on the human figure. His home in Berlin was later transformed into a museum. The museum’s website has pictures of his study – very spacious, with ultra high ceilings and 2m high windows to three sides and on the ceiling. A studio like that would be my dream!

I selected three drawings to illustrate Georg Kolbe’s style. They were all without creation date.

1) Female nude, crouching (weiblicher Akt, hockend)
2) Female nude, walking (schreitender weiblicher Akt)
3) Female nude, kneeling (knieender weiblicher Akt)

I really like how the linear elements are combined with the tonal areas. This is an approach I would like to try as well. I’m more and more inclined to choose the figure drawing option in part 5 of the course. I’m not sure whether I’ll develop the confidence to take part in life drawing classes to prepare the final drawing. I might try out this minimalistic approach on the clothed figure.

References

Wikipedia article on Georg Kolbe http://de.wikipedia.org/wiki/Georg_Kolbe , retrieved 4 October 2013

Website of the Georg Kolbe Museum (available in English, too): http://www.georg-kolbe-museum.de/?lang=en , visited 4 October 2013

Gottfried Bammes: Zeichenschule. Studien zur Gestalt von Mensch und Tier, Boesner 2009

English version: Complete Guide to Life Drawing, by Gottfried Bammes, Search Press 2011. Available at Amazon, eg from http://www.amazon.com/Complete-Guide-Drawing-Gottfried-Bammes/dp/1844486907/ref=la_B001HCX7AA_1_1?s=books&ie=UTF8&qid=1380925782&sr=1-1 where there’s a video flipping through the book.

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Check and log: Gesture

By patriciakarsten | Published: October 3, 2013

How well have you managed to capture the poses? What could be improved?

Overall I’m satisfied with how I captured the poses. Sometimes there are slight errors of proportion but they don’t seem to disturb understanding of the pose. The main step forward to make would be to draw other people.

I made an attempt to look for videos of dancing people with the idea that I could pause them and draw the figures. I thought they might take up interesting poses full of energy. I tried this with chachacha videos. When looking at several paused images, I abandoned the idea because the figures on my computer screen were so small, and the poses looked artificial. Maybe I object that this task would be “too easy” in that it omits the step which I find most important when learning to draw, the translation from the real world to a 2-dimensional representation.

Maybe the approach works better when I try the same on my TV, because then the images would be larger. There’ll be a project “moving figure”, and TV watching might work quite well for that. For still poses, I might try news programs or talk shows, probably people remain in the same position for longer than they’d do in a movie. I’m a great fan of cooking shows, so maybe I’ll try depicting the chefs as well.

Do you think that your figures balanced? If not, where did you go wrong?

Yes, I think most of my figures are balanced. Difficult were the two backwards bent positions, one kneeling and the other standing. But actually yes, I think the balance worked quite well.

How did you go about conveying a sense of energy?

I think the sense of energy comes from the pose which depicts a movement, but also from my very quick and sparse line work. Interestingly, the one pose where I added shadings to correct an error looks strange but nevertheless quite energetic.

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Gesture

By patriciakarsten | Published: October 3, 2013

Exercise: stance

I wasn’t really sure what is meant by the word stance. It seems to have been something that I had tried to get right in my figure drawing so far, without knowing that this was it. I enjoyed this exercise. I began to feel a bit limited by using only myself as a model and this triggered some creativity in finding new poses. But the double task of posing and drawing is physically exhausting. I tend to cramp the left arm and hand when I hold the sketchbook while drawing with the right. It also forces my head to be turned towards the mirror. Not ideal. But the big advantage of self portraits is that I don’t have to make appointments, schedule sessions etc. And I also like the privacy of my exercises. Maybe when I feel a bit more safe with figure drawing then I might draw other people without feeling too embarraced by their presence and judging my drawings.

Exercise: Energy

This was a great exercise. I really had fun making these quick drawings and began to invent strange poses in front of the mirror, sometimes very imbalanced. It was like “draw yourself while standing on only one foot”. I chose 4 poses which permitted to stand still without falling while drawing. This time I really managed to make quick sketches and didn’t hassle with details because I couldn’t hold the position for longer than 3 or 4 minutes.

I made a second attempt to draw a bit of the back view, slightly bent towards the mirror. It is difficult to adjust eye and hand coordination for drawing in this strange position. But I think I captured the twist in the central axis quite well.

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Check and log: Form

By patriciakarsten | Published: October 3, 2013

Were you able to maintain a focus on proportion at the same time as creating a sense of weight and three-dimensional form?

I think proportions are mostly ok, just sometimes I seem to overemphasize the upper part of the body. Sense of weight also looks ok. To me the figures appear centred. Three-dimensionality is less well done. I think I need to do some extra work on this. It’s not particular to figure drawing, rather I don’t handle the tones wenn enough to create an immediate three-dimensional effect. There are some glimpses of it, though, for example the face in pose 4 of the second exercise. The face isn’t a correct representation but the marks permit the brain to complete the visual impression and recognize it as a face.

Which drawing gives the best sense of the pose and why?

I think the best sense of pose is in the drawing “Pose 3” of the second series, where I drew the figure from the side. It’s the only landscape format. I used the side of a piece of pressed charcoal to make just the broad traits and outline of the pose, and this seems to have worked well. The other pose I find successful is “Essential shapes II”, seating figure with legs straight. Here are just the main outlines without tonality and body posture looks just right to me.

Was there any movement or gesture away from the model’s central axis. If so, did you manage to identify this and put it into your drawing?

I’m not sure what is meant by “movement away from the central axis” with respect to a still figure pose. Probably there wasn’t any in my drawings. The central axis was bent in the seated figures. The figures seem to be more or less in balance, so I guess I got this right.

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Form

By patriciakarsten | Published: October 2, 2013

This project comprised two exercises, which I completed in a sequence during several days.

Exercise: Essential shapes

I made several drawings for this exercise. The first three were in charcoal on brown A3 sized paper.

Then I continued with a 2B pencil for four more drawings in my A4 sketchbook. I stayed with myself as a model.

With the charcoal sketches, I felt roughly comfortable with the instruction to look for basic shapes like cylinders or cubes. But the more I drew, the less I was able to apply that abstract notion of form and felt more and more frustrated by the artificiality of the task. It just didn’t feel right. I liked the task of drawing my figure in quick sketches but at the same time felt irritated by trying to follow the strange instruction.

I think I took home the experience of simplification and that this works quite well to make brief sketches.

Exercise: Essential elements

Task: Quick tonal studies of 6 poses (10 minutes each) with strong directional light on the model.

I started this series with a thick charcoal stick, about 1.2 cm in diameter, on A3 paper. I wanted to make use of the really black tones and the shades of grey that can be produced with charcoal. I chose a simple standing pose and drew in front of the mirror with the sketchpad on the easel.

I think the drawing is not bad with respect to pose and proportions, and also in getting some really dark and really light tones. But the charcoal stick was too thick in relation to the space on the paper sheet and so it is all a bit too gross. Also from the composition it might have been better to include the binding elements between the black background areas of the windows (to the left) and the terrace door (to the right, behind the easel silhouette). The background was light, but not indicating anything of it leaves the figure a bit lost in space.

I chose watersoluble pencil for the next pose, again on A3 paper. Here the proportions are weaker, I think the upper half of the figure is too large compared to the legs. But this drawing is better than the first with respect to three dimensionality and tonal shades. There’s even some resemblance with the traits of a face, even if it doesn’t resemble me.
Drawing with the sketchpad in the hand quickly becomes painful and I thought a smaller paper size might be easier to handle. So I switched to A4.

The next pose (pose 3) was kneeling on the floor, looking at me from the side, with the sketchpad before my knees. I used a pressed charcoal block for this, drawing by putting it onto the side. This was a nice technique to create shaded areas. The proportions in this drawing are quite good. Tonality is not very much worked out, and I did not draw face marks for fear to spoil what I had. The next one (pose 4) was made with charcoal as well, but used with the tip. I think the tonality is well done in the upper part of the body and the face has improved. But the perspective does not work for the legs.

The two final drawings were made with standard 2B pencil. The first one was a repetition of the previous pose, I wanted to give it another try for the perspective foreshortening of the legs. But I found it very difficult to draw. Nice about this drawing is that my cat Gina sat on my lap for a brief moment, and I included her in the drawing. Then the final one was a good pose with strong tonal differences, but as a sitting position it became quickly quite uncomfortable which is why I hurried up in the end and spoiled it a bit.

Overall I liked the exercise and was at ease with drawing quickly, although most studies may have taken a bit longer than 10 minutes. Difficulties were to analyse the tonal areas. I was dressed all black which is difficult to draw in lamp light.

Posted in 4: Drawing figures, Form | Comments closed

Check and log: Proportions

By patriciakarsten | Published: September 30, 2013

Have you managed to make a complete statement in this time? What were your main problems?

I was surprised myself, but in this figure drawing project it was for about the first time that I felt ok with instructions and the task at hand. I felt I was able to draw what was required to depict the figure. I used graphite for the first four sketches, which was pleasant to use but did not produce very dark marks. I also tried black and grey felt pen, ball pen and charcoal.

The main problems were with the face – I wasn’t able to make those tiny marks that help to read the facial expression. Mine look a bit wrong, and I preferred to draw no face at all.

Another central problem was that of drawing myself and not another person, because it limits the positions and poses available. It also made sitting quite uncomfortable at times, because I did not dare to move for fear to loose the exact view on my position.

But the restriction to 5 or 10 minutes did not pose a particular problem. This surprised me as well, because on other occasions I regularly felt disturbed by the instruction to have only so-and-so minutes to make a quick sketch.

How well have you captured the characteristics of the pose?

I think this worked out quite well in all the drawings I made for this project. I also think that the center of gravity is well captured in the sketches. Again, I was surprised how well this worked, compared with my difficulties in other parts of the course.

Do the proportions look right? If not, how will you try to improve this.

Yes, I think proportions look ok in the drawings. In some I appear more overweight than in others, but I think improvement on this aspect is a matter of practice. Most of the drawings look quite accurate in their overall impression of my figure.

Concluding remarks

I was curious and read through the remainder of the course book, including the options for the final assignment in part five. I felt so comfortable with this first figure drawing project that I thought this might be an option for the final assignment. I haven’t definitely decided, but I think I would like to make a self portrait for the final assignment. I’ll see how I get along and if enthusiasm remains, I think I will go for it. I found the instructions a bit thin particularly for the figure drawing option, but this may in the end be even more convenient for me because I can decide flexibly which aspect needs more preparatory studies.

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Proportions

By patriciakarsten | Published: September 30, 2013

I have no model available so decided to draw myself, using a mirror. Luckily the wardrobe in my study has large mirror doors so I can see myself full length or seated without having to take uncomfortable positions.

First step: Two 5-minute drawings. I chose my A4 smooth paper sketchbook for this task, and 2B graphite bars. The first sketch was standing, the second seated on a folding chair. I think I got the proportions quite well, but the instruction of using a head length for measuring felt very strange. I did a brief measurement test before beginning to draw, but then drew the figure from head downwards and measuring relative distances as I went along.

Second step: Two 10-minute drawings. The first one was with a foot put onto the seat of the chair. This position standing on the other foot became quickly very uncomfortable so I finished that sketch in maybe a bit less than 10 minutes. The second sketch was seated again with the legs put a bit to the sides and the feet leaned onto the chair.

Again I wasn’t able to focus on measuring while drawing. I was absorbed by getting the shapes right but I seem to be using a different measurement system which compares the length of elements that I see in relation to other elements nearby. There are some distortions in my sketches, for example in the last one the chair is a bit too compressed, but I don’t think it would help me to measure in head’s lengths. Maybe it’s rather a combination of negative space assessment with estimating object sizes by comparing to adjacent objects.

Third step: Different drawing media (pencil, charcoal, pen, ballpoint, felt tips)

– Black pen sketch, sitting on the floor
– Second black pen sketch, me on the floor (different position)
– Grey felt pen, same position
– Grey felt pen, standing
– Black ball pen, me sitting with cat on my lap

I wanted to follow suggestions to try different media and used black pen, grey felt pen and black ball pen. I wasn’t able to focus on using my head size as measuring tool, instead tried to capture the overall pose and its stability on the floor. I was interested in shape and broad lines. The bolder media encouraged me to draw with more energy, less tentative compared to pencil.

I particularly like the last sketch of this series, me with my cat Gina on the lap. She came when I was still trying to find a comfortable sitting position in front of the mirror. I thought about the “grabbing a chance” exercise from the drawing animals project and decided to include her in my sketch. I positioned the sketchbook on the utensil cart in my studio, and draw us like this. I really like this drawing and how I developed the more intense lines for the contours out of initially tentative, lighter sketching lines.

The proportions in all the sketches are not really perfect. The first four were drawn while I was standing quite close to the mirror, and I think this results in a tendency to draw the legs a bit too short. It may be the effect of my actual perspective viewpoint, which is different from the typical viewpoint when sitting with the eye level at the hips of a standing person.

I’m glad about myself in this exercise because I could do it without the usual inner conflict with instructions. I have not really come to terms with the suggested measurement technique yet, this will need some more attempts. But I’d also like to try the next exercise of drawing a longer pose.

Larger charcoal sketches

I made two more sketches for practice. I chose grey A2 paper and charcoal. With the first one, I started in the middle of the body as instructions told me, and run out of paper for the feet. The second sketch I drew with a rough estimation of the entire figure size, then distributed the space as I went along drawing. I liked the larger paper size because it permits more relaxed arm movements. As with the other sketches, I wasn’t able to find working shortcuts for the face.

But while drawing the sketches, I had a glimpse of inspiration with an idea how to draw my face. I was fascinated by the form of the shadows when I bend my face backwards.So I got a rubber band and made myself a ponytail, then positioned myself in front of the mirror with the head tilted towards the neck, and drew this. It does not really resemble me, as I’m not that skinny and not that severe in expression, but I think the drawing is quite expressive and I like it a lot.

Exercise: The longer pose

I made this drawing after having visited the Edward Hopper exhibition for a second time. I think the drawing is strongly influenced by what I saw and what I particularly like in Edward Hopper’s drawings. It is how he works out a drawing as a tonal study from very light to very dark tones. The exhibition included several types of tonality range drawings – there were also some very dark ones, which depicted night scenes for examples.
But I really felt inspired to try out something similar: Use a really dark drawing medium, which permits to differentiate grey tones, and this is charcoal. I then worked out the drawing as a tonal study, rather than a line study as I did the remainder of this project.

I have my cat Gina on the lap in this drawing. She isn’t really recognizable. I had some problems with the pressed charcoal which made marks at different places from where I intended them to make. It also did not produce the deep black that I wanted. I will see to try out different types of charcoal to see if there’s a variant that works better for me.

I think the study is quite successful. The right foot is very well done in the play of light versus dark with the shadow on the floor. Proportions are roughly ok, I think. The same problem with the face was there, which I resolved by smudging the area because my marked looked too strange. I decided I definitely need to do close-up studies of the face.

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Reflections at the end of part III

By patriciakarsten | Published: September 21, 2013

I completed assignment 3 with the A3 drawing of the view, but I did not perceive that drawing as a finished work or as the endpoint in a series. It rather felt like “another unfinished, moderately successful attempt”. I like about the drawing that it maintained some of the freshness of the early sketches. Areas for improvement are vast, in particular how I depicted the trees.

I thought about doing more drawings of this view and trying to do something more worked out. But I lack confidence and time. So I’ll proceed to part IV, drawing figures, hoping that a completely new topic provides new motivation to continue.

Maybe it’s time for a little reflection where I am now in this course. Technically speaking, I have completed 3 of 5 parts and I have made lots of drawings. Overall I am very dissatisfied with my work for this course. This mainly has to do with the restricted time I have available for coursework. Most of the time I feel very stuck, confused by instructions, uncomfortable because I feel constrained by guidelines that do not seem to correspond to how I’d spontaneously approach a drawing task. I also feel that the course does not give me enough liberty to find my personal way of doing things. I feel in constant conflict between task instructions and how I’d like to do things or what I would select as my topic. And I feel that all the effort results in low quality drawings. It is really frustrating. In particular, I don’t see any progress at all, I just see myself struggling and not able to draw well but being obliged to proceed because otherwise my course time runs out. But if I don’t benefit from what I’m doing and I don’t have pleasure from it, I’m not sure whether it is really worth doing it.

Conclusion is: I really must find my personal way of doing things without constantly feeling bad about every drawing I make. Otherwise I may succeed in completing the course, but personally it’ll get me nowhere. I would like to feel proud and satisfied about my drawings, but so far this has been an extremely rare experience. When I look through the drawings I’ve done so far, I don’t know which ones I might send for course assessment, I think they are terribly weak. With a few exceptions.

I’m not sure whether I’m simply not good at drawing and must accept the fact, or whether it’s more a problem of finding my personal way of drawing. I would want to select topics I like and draw them in a way where I feel that I learn something, each time I draw.

Instead, I feel I’m repeating my errors, without making any progress. Attempting a task, getting nowhere and stopping, then trying the same approach on a different topic, again getting nowhere. I can proceed like this through the course, having done many drawings, but not getting beyond what I was initially able to do. And this is not the way I want to do it! I’m really desperate to find out what I’m doing wrong and how I might make this course a more rewarding experience.

Posted in 3: Drawing outdoors, Assignment 3, Miscellaneous | Comments closed

Developing Assignment 3: View out of the window

By patriciakarsten | Published: September 21, 2013

Initially I thought about drawing the view out of my terrace door, but there’s only a single plant there and I interpret the instructions that there should be some more natural things included, more than just one medium-sized potted plant.

Indeed the view out of the window in my office seems to include everything we are asked to look for. There are some buildings, the street, several trees. Even a bit of water from the East River and the skyline of Williamsburg with the Williamsburg bridge to the right, which is far enough away to demonstrate a bit of aerial perspective. That is, if I am capable to do this.

I made two initial sketches in my sketchbook today during lunchtime to try out the idea. The first one is in portrait format and it includes the wall of the adjacent building to the right and the lower portion of the building on the other side of the street to the left as framing elements. Then the view extends over the trees on the UN area, then the East river, Williamsburg skyline and Williamsburg bridge. I think there are some size errors in the lower area with the street, but otherwise I like the drawing and how it captures what I like about the view.

The second sketch is in landscape format. I tried out the idea of including the window frames to establish a very near foreground, plus the adjacent building’s wall to the right. This sketch was drawing quicker and with less detail. I think the composition is less successful. The landscape format permits to include more of the framing elements without squeezing the inner area with the trees, but then the view seems to be cut off too close to the upper edges of the Williamsburg skyline.

I’m not sure what to make of this. Maybe even extend the width towards a panoramic format, and flatten the street and the trees to include more of the see and leave more of the sky above the Williamsburg buildings. Or maybe a square format works best. I think I will do some more sketches to try out some more options.

I’m a bit scared by the complexity of the task, in particular by having to draw trees. I practiced that again today but am still very dissatisfied with the results.

Some studies

I like the view out of the window but am very unsure whether portrait or landscape format works. The studies I made tested this out. Landscape format seems to squeeze the sky and give ample space to draw the trees in the middle. Portrait format squeezes the middle ground, if I include something of the wall of the adjacent building, but the effect is quite dramatic and corresponds to reality as I feel my views framed by high buildings, rather than having a broad and unrestricted visual field.

A4 drawing in landscape format, pencil and coloured pencils

Compositional sketch, pen, portrait format in A4 Sketchbook. Trying out the bolder medium for linear mark-making, in particular for the trees

A4 sketch in portrait format using coloured conté crayons on grey paper.

Mini-sketch in landscape format. The lower building to the right and the adjacent wall plus window frame to the right, and taking care that the horizon line is low enough to include a bit of sky

A4 sketch in landscape format, made after a photograph of the view. Pen and coloured pencils. I introduced the pen after having developed the broad coloured areas. I had in mind some basic elements:

– A gradation in the sky from very light over the Williamsburg skyline to more intense blue upwards

– Framing elements to the left and to the right

– The darkest areas below the trees

The final drawing

The final drawing was made using watersoluble coloured pencils, using a bit of water to create light washes. Drawing is A3 size in landscape format.

Posted in 3: Drawing outdoors, Assignment 3 | Comments closed

Research point: John Constable, Fir Trees

By patriciakarsten | Published: September 20, 2013

Constable was a master of observation of the natural world. Look at the character and variety in the trees he has captured in this drawing.

This was not explicitly stated as a research task, but since I felt so stuck with my own attempts at drawing trees that I found it might be a good idea to look at how artists have approached the task. So I thought to begin with Constable’s tree drawings and then see what else I discover.

John Constable: Fir Trees

Looking at this drawing, I recognize the elements that I saw when I tried drawing trees. I wasn’t able to depict them accurately, but Constable was:

– the dark silhouettes of foliage against the light sky with little marks to break up simplistic outlines
– some branches in black or alternating between black and shades of grey
– trunks are light before the darker background of other trees and dark against the sky
– lighter foliage against darker backgrund

John Constable: Fir Trees at Hampstead (1820)

I came across this drawing while searching for a web image of the Fir Tree drawing. It is lighter than the other one. It must have been a very sunny day, while the other drawing would rather be drawn on a cloudy day or later in the afternoon. I conclude the different light conditions here from the lighter tones of foliage masses and light shining through trunks and foliage of the background trees. By contrast, the other drawing does not have much light in the lower areas of the background trees.

This drawing also has more details on the trunks of the three dominant forground trees. The tonal shadings in the foliage silhouette against the sky is more differentiated: it has lighter and darker tones, where the other drawing has only dark tones against the lighter background. One might summarize this as “more light, more details” which corresponds well to the actual visual experience under different light condition: One can see more details when there’s enough light.

John Constable: Study of the trunk of an elm tree (c. 1821, oil on paper)

I’m not particularly fond of photorealism in drawings and paintings, but this painting nevertheless impresses me. I like how Constable has used the different green tones from very dark to very yellow-greenish, and also how he depicted texture and different colours of the trunk and its bark.

Edward Hopper: South Truro Post Office I (1930, watercolour on paper)

In this painting, the trees are elements of the composition. They are painted with the same degree of simplification as the other elements. I can relate to the idea of omitting fine detail and focus on colours and tonal shades of simple forms. In some of my drawings I follow a tendency to get away from line in favour of trying to draw tonal areas, which I perceive as a more painterly approach. Maybe some of my struggles have to do with not knowing how to employ these two techniques, linear vs tonal.

Edward Hopper: Tree studies

I took pictures of tree studies at the Hopper Drawing Exposition. In these two studies I recognize two different compositional approaches: The upper drawing appears to have been based on a compositional outline of the main elements, then working out the distribution of darker and lighter areas and details of the trees like trunk and foliage masses. The lower drawing is more like built up from the inside, without preliminary planning how much of the tree would fit on the paper. The focus seems to be on a study of light and shade on a complex trunk structure.

I think I have practiced both approaches. For example, my single tree study was made without earlier compositional planning. But contrasting to Hopper’s, mine was made with a focus on line, not tonal shades. The compositional approach was followed in the group of trees drawings. But my tree drawings were much less successful in capturing the pattern of lighter and darker foliage masses, and consequently the viewer cannot distinguish individual trees.

Conclusions

I found looking at web reproductions of drawings and paintings not very satisfying, because the pictures don’t have that fine detail that conveys information of the artist’s technique. Also, the immediacy of the real work’s size is lost, when one looks at the mini-reproductions.

But the web is a good starting point to search for artists that might be interesting to look at, and to find out where their works can be seen. I proceeded with a search through the online collection of the Whitney Museum of American Art. But I stopped at letter M, feeling a bit exhausted. The online collection doesn’t seem to include naturalistic paintings or drawings. I will have to search elsewhere, as time permits.

Sources

John Constable: Fir trees at Hampstead, from http://collections.vam.ac.uk/item/O93487/fir-trees-at-hampstead-drawing-constable-john-ra/ retrieved September 18, 2013

John Constable: Study of the trunk of an elm tree, from http://collections.vam.ac.uk/item/O16555/study-of-the-trunk-of-oil-painting-constable-john-ra/ retrieved September 18, 2013

Edward Hopper: South Truro Post Office I, from http://fineartamerica.com/featured/south-truro-post-office-i-edward-hopper.html retrieved September 18, 2013

Edward Hopper: Tree studies, personal photographs taken at the Edward Hopper Drawing Exposition, Whitney Museum of American Art, September 2013

Posted in 3: Drawing outdoors, Drawing trees, Research points | Comments closed

My journey through the drawing course at the Open College of the Arts

More Artists: Georg Kolbe

Check and log: Gesture

Gesture

Check and log: Form

Form

Check and log: Proportions

Proportions

Reflections at the end of part III

Developing Assignment 3: View out of the window

Research point: John Constable, Fir Trees

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