2D Feeling Edges: Feedback

November 25, 2014 at 8:00 pm

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Once again it has been great to look through all the work on Flickr this week and I have taken lots of notes (while looking at everyone’s work) that I will share here.

But first, in regard to sharing your work on Flickr:

  • Please ONLY post work that is part of an assignment from this course.
  • Please write about your process – either on your sketch itself or in the description or comment section. This makes the whole process more meaningful for YOU primarily as it forces you to consider what you learnt from the exercise. We also really love reading about it.
  • I know it is winter for a lot of you so getting outside is very challenging but it is best to sketch from real life rather than from photos. You could do an entire series of views from the windows of your home! Or try sketching from the car.
  • Don’t get hung up about whether you get any comments. My golden rule whenever I post anything online is not to worry about the stats and certainly never gauge the ‘quality’ a sketch by the number of comments. It is a big group and a very busy time of the year. If time is limited, I prefer you to spend it doing your own work and becoming in a measure self-sufficient. We love online communities, they encourage and inspire us so much, but the only real way to improve is to ‘put the hard yards’ into doing and analysing our own work and be content with the journey we are carving out for ourselves.

Week 2 edges flickr group

Indoors Exercise

  • Lots of beautiful continuous lines this week and not a hairy line in sight! I love it! I did notice that a few people couldn’t manage to keep their pen on the page for the whole sketch and I should be cranky with you, but I will forgive you… this time! I do hope that you understand the value of the continuous line for helping your lines to be more confident and to focus your observation more keenly on the object in front of you.
  • Many of you found it hard initially, felt ‘stiff’ or frustrated with your jumpy eye  … so it was great to see and read about the improvement many had over a number of sketches. I can’t stress enough how important it is to “practice, practice, practice.” Improvement in eye-hand coordination can only come through doing.
  • If you were struggling with the exercise, choose very simple objects, perhaps one that you are familiar with and/or have sketched before. This will apply to future lessons as well. I have a tendency to choose hard subjects, but don’t feel you have to follow my example in this regard. Also, in general, it is easier to work smaller rather than larger.
  • A lot of people realised that they need to slow down while some found slowing down made it harder. The important point is whether you are observing carefully or not. Many people rush and do not look at their subject properly before drawing – this is quite different from working at a fast natural pace while being totally focused on drawing what is in front of you. If you feel the need to work at a good pace, please ensure you take the time to look carefully before you put pen to paper.
  • How do I locate the image on the page and know where to start? In my demo I did an assessment with my eye of the subject matter and the size of my page first. I started roughly in the middle of the composition and so I put my pen down in the middle of my page. We will be looking at this in more detail in a future lesson.
  • I smiled when reading about someone’s experience of their objects taking on characters and even interacting with each other. Whilst it might be distracting when you are trying to focus on lengths and angles, once you have reached a certain confidence with your eye-hand coordination, this engagement with your subject is the best way to personalise your work. If you are truly caught up in your own response to your subject, your work will flow out and express your unique vision – it will have conviction.

Outdoors exercise

Lots of great work done this week – I do think the vertical format is neglected, so it was lovely to see so many in the group!

In regard to the building:

  • those straights lines and angles caused some concern, but even if you master perspective, the base skill is seeing angles and drawing them accurately.
  • You might notice that I drew one of my examples straight-on – this is not a ‘cop-out’ but a great way to build your confidence drawing straight lines and achieving correct proportion.
  • We will be looking at both in more detail in a few weeks time.

In regard to the foliage:

  • Firstly, I apologise for using that term rather than just ‘tree’ – for some of you finding foliage is almost a impossibility! A tree with or without leaves was suitable.
  • It was interesting to read that some people loved the freedom of doing the foliage loosely and blind, while others found it difficult to switch. If it was difficult, make a mental (or visual) note of this and then review how you feel at the end of the course.
  • It looks like some of the foliage was a bit of a scribble – if you are drawing fast and loose it is important that your eye follows the profile of the leaf shapes with your hand in sync, rather than random marks that are not the result of observation.
  • Some people like to draw every leaf (those that have a lot of time and patience) but if you are not one of them, I suggest you only draw the outline or pick up a few interior edges of the foliage. There are some great examples of both in the group – the single outline often forms a very effective frame.

Don’t forget to check out the Lesson 2 Overview and Questions for a few more questions relating to this weeks exercise that I have answered individually.

PDF Handout

Download PDF Handout: SkN Foundations 02 Feedback


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