Design visualistation: Observational drawing and modelling.

 For observational drawing, we were focussing on organic forms, so I chose this item, which I guessed was some sort of fruit, because I liked the repetitive nature of the surface,and the fact it is not one shape, but lots of little shapes that join together to make a whole.

 I used paper and masking tape to create cone shapes, and cut of the tops to emulate the shape of the fruit. I then used the cut off pieces to make smaller versions of the cones, and cut their tops off too. I attached them together with wire and thread.

 I then thought of using thread to draw with, so I stitched a simplified outline of some of the detail. I think this is quite effective, and would make a good pattern to repeat and use as a textile print or wallpaper.

 I used a barbecue skewer and ink to do a line drawing of the whole object, which created very thin lines and quite expressive lines because I was holding the skewer near the end.

 This drawing is a lot bigger, I wanted to show the end of it, not the side. I quite liked using the chalk, but it was hard not to smudge it when I was drawing other parts.

I think this one is my favourite drawings, it is a drawing of my larger paper model (top left corner), so I collaged some of the same paper onto the drawing, and also used chalk and ink to create the shading. I did the drawing on top of tissue paper, so there was a texture to the background, and I think all of this together makes it a very successful drawing.

Life drawing: Tone.

This week, we were using tone, with no lines. I found this very hard because it was difficult to put the blocks of tone in the right place and still get the proportions right. I also found it took more time to build the image, whereas with line it is easy to get the basic shapes in fairly quickly. I also found that the background plays a big part in the range of tones, as a dark background makes the figure look lighter and vice versa.At the start, we were just using charcoal on white cartridge paper, but I found it difficult to get the full range of tones, because a lot of shading was needed to make it dark enough that only the lightest highlights were still white.

Next, we shaded in the whole of the paper grey with charcoal, so that was a mid tone, and more charcoal could be added to make it darker, and it could also be taken away with a putty rubber to make it lighter. I found this a lot easier, because the background meant I had a shade to compare the figure to. If a part was lighter the background, I used the putty rubber, but if something was darker than the background I added more charcoal. This meant I didn't have to shade parts of the background in to make the figure look lighter. The only bit I didn't like was the way that the charcoal background picked up the texture of the drawing board underneath, so it wasn't a flat colour.







After this, we used creamy beige coloured sugar paper, with white chalk and charcoal, so the background was quite light. I had to shade in the background to make it contrast with the figure.

My favourite way of drawing with tone was with the three different colours, black (charcoal) white, and red (chalk) and we were still working on the sugar paper. When the red and white mixed, it made pink, and when the red and black mixed it made a brown.

I think working with tone has made me look closer at the different shapes and blocks of tone, instead of assuming, to capture the contours of the body realistically.