C. Part three – Outdoors

First and foremost part 3 has made me look completely differently on the world around me; especially with the change in season from summer to autumn, where I have seen a huge difference in the thickness and colour of the trees. Perspective has been another massive element of this course that I have learnt as well.

Project 1 Trees

Page 87 – Exercise 1 Sketching individual Trees                                            Page 88 – Exercise 2 Larger observational study of an individual tree

trees (1)

Various medium, 297x420mm, 200 g/m2

individual tree

Biro, Fineline pen and water, 297x420mm, 200 g/m2

 Looking at trees in a little more detail in this part of the course was interesting and has given me more understanding of their form, shape and structure. Using pen and some tonal shading on this exercise on the left was more effective I felt to convey the structure as well as the detail needed.

Using fine liner pen and felt pen here to create the form and shape if a tree in more detail. I really enjoyed this task and the washed effect allows the imperfections that are naturally evident in trees to come through. Using biro as well allows the detail to be increased.

Page 89 – Exercise 3 Study of several Trees

This image (below right) was from a botanic garden that we visited in Sydney over the summer (winter in Australia). The addition of the road allows depth to be created really nicely. The introduction of colour in the creation of a mass of trees in interesting and something again that I really enjoyed. Introducing a base layer of colour and then gradually increasing the variations in tone allowed the development of individual tree form. Coupling this with using a dark brown to create the trunks and the branches of the trees means the individual trees can be created well.

Sydney trees

Felt pen and water colour pencil, 210x297mm, 160 g/m2

Building the mass of foliage from the base colours to the darker greens allows the foliage to become more realistic. Using a soft white charcoal pencil allowed the light parts are the trees to be shown. In the image above on the left, using a putty rubber and a normal rubber allowed the lighter parts the be shown and in the image above right, I had to make sure that I left the lighter parts with no tonal work on them. On the image to the right there was much simplification that needed to take place otherwise the image would have been far to complex and confusing.

Project 2 Landscapes

Page 93 – Research point

The early paintings show here from Albrecht Durer and Claude Lorrain show very different styling. Albrecht Durer’s image is almost slightly out of proportion in parts, but still contains a huge level of detail. I love the water colour wash, that has been refined with the pen and ink over the top. On the right we see Claude Lorrain’s image which follows a very regimented balanced style of the Renaissance era and the realism and detail is exquisite.

Albrecht Durer 1495, Pen, ink and watercolour

View of the Arco Valley in the Tyrol – Albrecht Durer
1495, Pen, ink and watercolour

Claude Lorrain - 1644 Oil on canvas

Claude Lorrain – 1644
Oil on canvas

Industrial Landscape 1955 by L.S. Lowry 1887-1976

L.S. Lowry – Industrial Landscape 1955, Oil paint on canvas

Below these two we see a complete change in the approach and L.S Lowry depicts a very mutilated landscape that has been destroyed by man. The unnatural colour usage, and the greys combined with the thick, heavy, dark sky create a start contrast to the natural, bright colour we see in Durer’s and Lorrain’s images.

Finally we see the work of George Shaw, a much more contemporary styling, and what’s interesting to note is the way that he has represented his message and shows the run down, council estate feeling of dirt, filth and depression that surrounds the area. If we compare this to the above two images from the 15th and 17th century we can see how the landscape and views of what we see have changed over time. This image below really captures the atmosphere of a run down, old unit in a socially deprived area, the dark, dingy colouring is excellent. The message that can be portrayed through a landscape is outstanding!

Scenes-from-the-Passion-late 2002

George Shaw – Scenes from the Passion: Late, 2002, Enamel paint on board


Page 94 – Exercise 1 Cloud formations and tone

This was a task which I found very difficult to complete. This first image completed in conte was at sunset and this made image hard to show in monochrome. The tonal work around the cloud formation makes it somewhat difficult to see the complete forms of the clouds. However the second image shown here in pencil is much clearer and the form of the clouds is much more detailed. The final image in biro was of a more ‘whispy’ cloud and using biro here is completely the wrong medium and therefore shows little form and realism.


Conte, 210x297mm, 160 g/m2


2b, 3b and 8b pencil and biro 210x297mm, 160 g/m2

Page 94 – Research Point – Vija Celmins

Her highly realist approach is interesting and the use of a black/dark back ground combined with creating lighter tones on top is fascinating and assists in the depicting of this realism.

Page 95 – Exercise 2 Sketchbook walk


Biro sketching, 210x297mm, 160 g/m2

This was a walk around my garden on a area that we have actually managed develop and look after. I felt that it encompasses different elements of nature and man made objects (smaller trees, bigger bushes and a Buddah statue). I personally really like using biro to gain this sense of nature and the impurities that it possesses.

Page 96 – Exercise 3 360º Studies

The following sketches were all completed in biro and took no longer than 15-20 minutes. These were all completed at a local Royal Horticultural society park. It was absolutely beautiful and the difference in the view by just turning 90 degrees was amazing. I really like the use of biro to create this effect of foliage, I think that it works really well to show this thickness in the trees and the plants.


Biro Sketch, 210x297mm, 150 g/m2


Biro Sketch, 210x297mm, 150 g/m2


Biro Sketch, 210x297mm, 150 g/m2


Biro Sketch, 210x297mm, 150 g/m2











Page 96 – Research PointCold winds of the north

Lena Carpinsky‘s work was something that I came across when researching series landscapes by contemporary artists. Some of the varieties of colour that she uses are outstanding and the style I really like. She has also completed some work similar to Monet’s Water lilly series too, which I found interesting to look at. In this image below we can see that the artist has managed to incorporate the differences in the seasons in one image! The visual effect is superb! Sakura Tiles

Page 97 – Research Point ‘Golden Mean’

After researching this for a while and looking at various examples, I watched the following video on youtube which gave me an insight and much more understanding about the ‘Golden Mean’ rule…interesting!


Page 98 –  Exercise 1 Developing your Studies


Watercolour pencil, ink and water 297x420mm, 200 g/m2

Completed in water colour pencil, ink and pen. I love the depth that is created here. The tree in the foreground is detailed and highlighted with white and the ripple effect on the water I am also really please with. The vagueness of the mountain range in the background and the trees at the top adds to the illusion of depth. The tree also frames the image and is in the rough area of the golden mean! Initially this was sketched while on holiday in New Zealand, however the detail was added upon returning to the UK where I had more materials available to me. Beautiful country!!

Page 99 – Research point

The difference between the above artists from the Renaissance period, through to Cezanne and Monet and the artists that I have found below is vast. The realism and the ‘Golden Mean’ rule that seemed to be fairly evident in the much older pieces seems not to be the case in contemporary pieces of work. What I have found below, and what I really like is the expressive nature of all the pieces and the vivid emotional colour use that follows.

In this example on the left TaSONY DSCcita Dean describes the landscape of snow covered mountains in a very different way. The chalk on blackboard effectively describes the contours of the landscape so well and the ice that flows has a great visual effect on the viewer. The sheer size and scale of these pieces really interests me and the fact that it is a monochrome piece shows how the realistic nature of a landscape is no longer needed to be captured in a painting or piece of art in the same way that it used to be in the Renaissance period is fascinating.


An either further contrast to this is the following two examples of contemporary artists found on saatchiart.com. The image on the left below, titled: ‘Landscape – a sea’ by Agata Kosmala shows very rich, vivid colour usage coupled with expressive brush marks and the second image titled: ‘Dutch Landscape’ by Antonia Verbrugge uses more natural colours but again expressive brush Dutch Landsape, Antonia VerbruggeLandscape - a sea Agata Kosmalastrokes. All three examples here are a million miles away from the realism that we have seen in the Renaissance era and even the expressionist era with Cezanne and Monet. I love these expressive pieces!

Page 100 – Exercise 2 Foreground, middle ground, background


Pencil and black soft pencil, 297x420mm, 200 g/m2

I originally completed this image below from a photograph that I had taken but was not happy with the final product. Using charcoal here created too much of a vagueness and adding people into the mid part of the image was difficult as I couldn’t produce the level of detail that I wanted to. However in this image on the left, which was completed by looking out of the window on our landing. The detail is higher in the foreground and much lower in the background. I really enjoyed this piece. The medium helped here.

foreground mid and back

Charcoal, 297x420mm, 200 g/m2










Project 4 – Perspective


2b pencil,210x297mm, 160 g/m2

Page 106 – Exercise 1 Parallel perspective – an interior view

This is an interior view of the back door in my kitchen. Recapping on vanishing points and making sure everything leads the eye in the correct direction was something that I haven’t looked at for approximately 10 years since doing my art GCSE! Made me think a lot more about the completion of this image on the left.

book perspective

2b pencil and fineline pen 210x297mm, 160 g/m2

Page 107 – Exercise 2 Angular perspective

Firstly, to make sure that I could get my angles right I completed this quick piece based on a stack of books. It allowed me to get my eye in and understand the angles and vanishing points better from being below and above the objects. From here I then completed the following sketch (bottom right) of the outside of our house in fine line pen and water. Using the construction lines in pencil really helped here. Perhaps some tonal work on the ground would have worked well here as the image almost looks like it’s floating.


Fineline pen and water, 210x297mm, 150 g/m2

Page 108 – Replication of drawing

Copying this image of Sir Muirhead Bone, really consolidated my understanding of angular perspective again and made me realise that if you don’t use a ruler as guidance the lines can mean you can easily have an altered perspective.


Copied Image, 2b pencil 210x297mm, 220 g/m2


Page 109 – Exercise 3 Aerial or Atmospheric Perspective

This is a part of landscape drawing that I found I absolutely loved. The angular perspective and vanishing point of the road I find really interesting and helps to lead the viewers eye into the distance. However I also like the way the haze of a skyline can really give you a definition of distance. The lack of detail in the distance along with this haze/lighter skyline helps with this perception of depth as well. Finally completing the image in red/orange allowed me to represent the heat of the day in a different way to the coloured image. Some of the lines are slightly off the line of the vanishing point here. Next time I must use a ruler/ straight edge to create guide lines to work from.


Aerial perspective overview, 806mm x 562mm, lining paper unknown g/m2



Project 5 – Townscapes

Page 111 – Research point John Virtue

Looking at the work of John Virtue on the following website (http://www.nationalgallery.org.uk/learning/associate-artist-scheme/john-virtue/) showed me how atmospheric his work is. By studying his works I can feel a sense of oppression displayed throughout them. Perhaps his colour usage portrays the pollution of towns and the roughness of the strokes shows a sense of being rushed and busy life those in town lead. This is so different from the work of renaissance artists before him where the richness of colour in nature was shown.

I love the vagueness of the objects in the foreground and background, which still creates a lovely sense of form in these images below.


Page 113 – Exercise 1 Sketchbook of Townscape drawings

church prelim

2b and 8b sketches, 210x297mm, 160 g/m2

church studies2

2b pencil sketching, 210x297mm, 160 g/m2


2b pencil and charcoal, 210x297mm, 160 g/m2



Watercolour pencil and chalk pencil, 297x420mm, 200 g/m2


The place I chose for this was somewhere I regularly run and every time I see it I think it is beautiful and so peaceful. I am lucky enough to live in a place that is a little rural and therefore places as peaceful and quiet as this do exist. The architecture of the building interests me as it is very old looking as well as the location and how a sombre it was due to the fact that there is a cemetery there. Left shows the two initial drawings, the first based on as much detail as possible and the second showing the spread of light. Right are some alternative studies completed from different compositions with annotations already on them. I find charcoal is too thick and does not give me the level of detail that I desire. From these studies I completed the image below in colour. Looking at the image after completion, I notice that some of the elements of the perspective may be slightly out. The tall tower at the back right (in the golden mean area of the image) does not have straight horizontal lines. I love the colours that I chose however.

Page 114 – Exercise 2 Study of a townscape using line


Fineline pen an water, 210x297mm, 160 g/m2


Fineline pen an water, 210x297mm, 160 g/m2

This came from a walk through Chelmsford town a few weeks ago. The initial sketching was completed in fine line pen at the location. Then the additional detail and tonal ink work was done at home from a photograph at the time of sketching. In this initial image I feel as if the composition is not quite as complete and slightly boring. I then moved and completed the following sketch (right), which due to the fact that there is a river running through it adds to the interest and the reflection creates an interesting piece. The banks also draw the viewers eye and create a sense of depth.

Page 115 – Exercise 3 A limited palette study

From the above sketches I then completed the following in water colour pencil, without adding the water and used the texture of the paper to assist in the image. I really like the illusion of the water and the way I have created this. Again the banks of the water edge lead the viewers eye down the page into the golden mean space.


Watercolour pencil, 297x420mm, 200 g/m2


Page 116 – Exercise 4 Statues

This was something that I actually found very difficult to complete. I attempted one which was of a statue where my eye level was much lower than the statue but I found this difficult to complete and get the correct perspective. While on my way back from London outside a train station in Southend I noticed a statue that I have never noticed before. This one (below) was at eye level and therefore was easier to complete. Using a rubber pencil, I highlighted the statues to create more form- still slightly flat however.


2b/3b pencil, 210x297mm, 150 g/m2


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