For this exercise I’m going to use charcoal again as my medium. I’m finding that the black and white effects are quite dramatic and really will help create the atmosphere I want to depict. Most of the work in charcoal both through landscape and figurative work will help me practice more and more the use of this medium for the future work I wish to concentrate on in Level 3 if I am fortunate enough to achieve the move up. In part two I indicated the importance of the outdoors, walking and the landscape and it’s rugged terrain. I do complete a drawing of the local allotment linked to my foraging map in the parallel project. I draw this and I may use it and scale up. This is an image of my friend’s allotment, and she makes use of three raised beds. I worked quickly to create the composition. I also took a photo for reference which I also include below. I don’t always stick to the photos as I don’t want to create exact replicas and sometimes I change the scale with a lot of artistic license. I finished the sketch in the studio. I probably went a bit too heavy with the dark areas of charcoal in the middle ground. I was trying to capture her cabbages by erasing with the mechanical eraser. It has worked but I found I had to keep cleaning the eraser. This might be good scaled up and with someone tending to the beds.
I then decide on another landscape nearby with a pathway. I always seem to be drawn by pathways and the mysteriousness that lies beyond. From my small drawing of the pathway, I decide upon this, and will complete my two drawings on an A2 watercolour paper. The texture in the paper also helps create form in trees and bushes.
The small drawing is below. I stand in situ and complete the drawing quite unobtrusively. I’m getting used to walking along with the A5 sketchbook. There are a few people, intruding on my solitude but this is also what its about …reporting on the changes. From solitude and isolation to the movement of people, noise as they pass, talking, chattering, dogs barking!
I begin the larger sketch in the studio having made my way home. I begin by outlining my main areas of work. Once these areas are in, I start to work on all areas of the paper and as the charcoal is messy I try to be careful not to smear with my hands, marks where I don’t want marks. Again, I work quickly. I took a photo for reference and also work from this. There is a band of light creeping out from across the pathway from almost under the trees. This will act as a good focal point.
I think I’m creating depth. A foreground, middle ground and distance in the background. This I achieve with composition and the depth of the charcoal. More pressure in the foreground to create the huge long grasses. A graduation of my pathway and to graduate the areas to the side of the pathway. I texture and blend these areas with my fingers. My pathway I leave quite light as it leads to the band of light at the side of the trees.
I’ve really enjoyed doing this again. I think I’m in love with charcoal as well as the landscape!
My reference photo is below.
As you can see this is a well-travelled pathway.
I’m conscious this is now the next stage, and I must focus on the issues of reportage. I visit my sites fairly regularly and the area can sometimes be quite busy. I set about depicting the same scene and this time will put people on my pathway. There can be children, families, dog walkers and cyclists. I decide on a runner, a man with a dog and a cyclist. All of these have been present but pass by. I return now to the studio for the bigger A2 picture. I try to draw the same scene again and mainly copy my other drawing. The landscape is a little different and I try to put more long grasses at the right-hand side of my pathway in the foreground. As I put in my figures, I am conscious of not blocking in full colour with the charcoal but to make sure my images look gestural. My processes are the same light and hard presses in the charcoal, sharp sticks and softer sticks sometimes rubbed on the side. Broken line when necessary. I work my way down the page adding the figures and to create less smudging. The first distant figure is the runner and I ensure he’s got movement by only seeing part of his right leg. The arms also look as if in motion. The bicycle is a little trickier. It could be a motorcycle. I angle it to follow the path and so we can see mainly the back wheel. The figure in the foreground and the dog are reasonable and I try to angle the mans head towards the dog and they look at one another.
As I look at both of the images the figures in many ways add interest. I could add some shadows to the figures, and this could add more drama. I decide not to as I might spoil the image. I could also define the path a little more maybe.
I guess the motion of the cycle and the runner work reasonably well in contrast to the walker with the dog. I’m not sure about the perspective as I feel I’ve visually created an almost aerial view. I do feel I’m just scratching the surface of reportage and I really need to do more. For further work on this course, I may mix up the media and not just be restricted to the charcoal. I loved the work we have researched, and I really liked the work of George Butler.
Drawing 2 Interpreting the environment 