Part Two, Project 6, Exercise 4 -Line and wash

Select a range of media including pen, soft pencil, oriental brush pen, charcoal and oily pastels. Work on any scale but be aware that small paper will limit your gestures. Warm up by drawing continuous line in different media without looking at the page. Try to maintain a loose approach and keep working until you feel confident that you understand the different qualities of each medium.

Work on creating interesting tones by using just one or two colours mixed as a wash (watercolour is best for this).  You could use Indian ink for the darkest areas for dramatic effect.  For the lightest tone, you could try a wax resist technique using a light coloured oil pastel or wax crayon overlaid by a darker wash. This technique is most effective when used sparingly.  Experiment and enjoy the freedom of drawing loosely with wet and dry media.

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Blind contour drawings using various media:

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Then I went on to do a more carefully observed ink drawing using a bamboo dip pen and indian ink on A2 cartridge paper:
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I used sepia ink as the wash.  I thought I had finished (See picture above) but when I looked again, I decided the picture was too flat and similar in tone, when in reality the statue and pillar at the front are much darker and sit in the foreground.  I added some Indian Ink to create contrast and darken these areas:

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Was I able  to convey mood and feeling by making rapid statements?

Assessment criteria points

  • Demonstration of technical and visual skills – materials, techniques, observational skills, visual awareness, design and compositional skills (35%). I think I captured the perspectives and feeling of the hallway, where the light falls from a central atrium in the ceiling. I made an effort to use rapid statements with both the ink line drawing and the wash- accepting and tolerating where mistakes were made and incorporating them into the finished picture.  I successfully captured the light coming from the top, becoming darker with increased depth of wash towards the bottom.  I managed to stay free in my application of the wash and some of the accidental runs and mistakes add to the interest of the picture.  I think I started with too dark a wash for the mid-tones and would have benefited from lighter tones in general, so that the main feature stood out more.  Application of black shadow at the end helped with this.
  • Quality of outcome – content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas (20%). In the end I felt the outcome was good.  I worked loosely and had a good idea how to approach the task.
  • Demonstration of creativity – imagination, experimentation, invention, development of a personal voice (25%). I had to be creative about how I represented some of the areas before me, whilst still giving the picture life and depth.  For example I didn’t want to get bogged down in details of the bannisters or the actual stairs, while still making it evident what they looked like.
  • Context reflection – research, critical thinking (learning logs and, at second and third level, critical reviews and essays) (20%).  The medium lends itself to a loose interpretation as demonstrated in classic art such as this picture by Rembrand called Interior with Saskia in bed: 1640-42+Interior+with+Saskia+in+Bed+pen+and+brown+ink+with+brown+and+gray+wash+and+some+additions+in+red+and+black+chalk+The+Frick+Collection,+New+York.jpg  Here the loose drawing and wash give a atmospheric, evocative sense of the dark room with light falling from a window to the right.
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