This is my eighth A2 drawing of the project, where I have endeavoured to look at a slightly different subject matter, with a focus on interpreting texture and mark making skills. I have decided
to look at mark making in particular because I wanted to find new ways of interpreting objects immediate to the structure in each piece of work I do. Rather than having large gaps of negative space introducing the look of the shed, the objects immediate to the structure therefore need to be involved within the piece itself to create some visual harmony and balance in the piece. Although some of the mark making used is not necessarily accurate to the object I am depicting, the idea of creating a suggestion of the presence of a tree or branch is something I want to investigate further in my work to further my development.
This piece was particularly interesting from the outset because the shed itself was so damaged and ruined that it didn’t resemble a typical shed anymore, but rather a pile of objects leaning on each other. I found this interesting because it gave me the opportunity to include the objects around the shed, which was keeping the shed in its current state. I think it is one of the best examples of how the passage of time leads to the ruin of such buildings.
I began the drawing with my usual process, a simple pencil line sketch, allowing me to experiment with the composition in relation to the negative space of the rest of the paper. I found that I required elements of the location that looked like leading lines, because I wanted the piece to have some depth to it, hence why I included the stone walls. It gives the indication of a location, without too much of the surroundings being present, which I really like. Although I do not do this on all of my
pieces, where I try to focus solely on the shed and the background is left blank, sometimes a piece requires extra balance in its composition, which is why the presence of other elements is often required.
I began to add detail through the use of fine liner pen, onto the shed. I wanted to focus on light and dark in this piece to make sure that there was enough depth in the shed. Like with many of my prior pieces’ used a range of sizes of fine liner pen, to try and replicate the different details and textures in each aspect of the shed, due to its difference in materials. One of the most challenging parts of the shed was the corrugated metal on the sides of the structure. This is a difficult surface to replicate because it is smooth and had significant bends in it, something that a scratchy medium like fine liner pen does not translate well. To combat this I decided to focus on the movement in the surface rather than its smoothness. This allowed me to put the bends or ripples in the metal, and then I used a grey alcohol pen to give an undertone of mid-tone to it to make it seem smoother. I think this was the best way of translating such a material.
Then I began working on the trees that were growing around and through the shed. This is an example of where an object can obstruct the main point of a piece and generate some confusion when trying to develop a balanced drawing. I decided on creating a suggestion of the trees rather than a full representation so that the shed was the focal point of the drawing. To do this, I tried a stippling technique, using a special stippling pen to create little dots rather than lines with the medium. That way, there is a representation of the trees, but the detail is minimal. I like this
technique because it allows me to add some artistic licence and a suggestion of objects being present without the focus being diverted away from the shed. I want to experiment with this process further to ensure I can get a nice balance of detail and suggestion in this area of my work. Adding a new mark making technique to my process also widens my abilities as an artist, and will only impact my workshops further. Although not everyone will have access to a stippling pen, finding ways to make the process easy to do at home is something I will aim to consider and develop within the workshop building process.
FINAL DRAWING (BELOW)
This is the final drawing. I am really pleased with the outcome of the piece because I have been able to incorporate new ways of adding some of the background or location into the drawing without it taking away from the main point of the piece, the shed. I think having a new mark making technique, through the use of stippling, has allowed me to create some subtle suggestion of tress or other objects that are immediate to the structure. This has shown me how I can create more diversity in my work, depending on how I approach different objects and translate them onto the paper.
I also think I have made some improvements when trying to depict the corrugated metal on the side of the structure. Aiming the depict its shape rather than the surface has been the best way for me to create an accurate suggestion of this area of the shed. It has shown me that I have made improvements within my drawing and that I am finding more ways to improve my technique as I draw more and more. The use of alcohol pens continues to be a good way for me to develop mid-tones in my work, and has resulted in the piece having a nice range of tones from light to dark. This ultimately makes the work look more finished and gives it a good level of accuracy. Overall, I am very pleased with the outcome of this piece.
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