An impressive drawing. I'm not against Biros but that drawing just needed
something that did not smudge. The quality of the mark making was not a part
of that drawing, in fact it was positively avoided.
On 15/9/11 09:01, "Simon Mee" <[log in to unmask]> wrote:
> mmm my best responseto your biroist view ist that you might want to look at
> the work of Laith McGregor
>
> http://www.ssfa.com.au/artists/mcgregor-laith/art/942/
> Simon Mee:
> Associate Lecturer, Collections Curator and Arts Management
> School of Creative Arts-We Enable Emerging Artists
> Faculty of Arts
> University of Southern Queensland
> Toowoomba QLD 4350
> Tel 07 4631 5372
> Fax 07 4631 1131
> Mobile 0413 627 603
> Email [log in to unmask]
>
> ________________________________
> From: The UK drawing research network mailing list
> [[log in to unmask]] On Behalf Of Rachel Pearcey
> [[log in to unmask]]
> Sent: Thursday, 15 September 2011 5:52 PM
> To: [log in to unmask]
> Subject: Re: Divergent drawing exercises
>
> I agree very much with Mike. But not about the Biro. one of the problems with
> the humble Biro is that it gives no sense of the potential quality of any
> marks, thick, thin, light, dark. The beauty of most simple drawings is
> contained in the quality of the marks.
> Rachel
>
> On 15/9/11 08:42, "Mike newman" <[log in to unmask]> wrote:
>
> Hello Dan,
>
> I find continuous line drawing takes you away from photorealism. The nature of
> a start and endpoint and a confined space such as a4 means consideration is
> needed for how to realise the act of capturing what we see whilst at the same
> time keeping a continuous movement with your pen. I like to use a humble biro
> as it dries fairly quickly allieviating chance for smudges. If using
> continuous line for life drawing it is worth spending a few seconds
> considering the journey your pen may take. I will start at often at the head
> oor the foot or at whatever the extreme is.
>
> couple of links to examples from my website -
> http://www.mike-newman.co.uk/section490954.html
>
> http://www.mike-newman.co.uk/section499110.html
>
> thanks Mike
>
> On 15 September 2011 08:20, Dan Roach <[log in to unmask]> wrote:
> Hello.
>
> I was hoping to pick the collective brain.
>
> I've been tasked with running a series of drawing sessions aimed at first year
> undergrads, within an illustration an animation framework. The brief that I've
> been given is to 'open up the students expectations' of what drawing is or can
> be. Beyond this, the only stipulation is that the course leaders would like
> the students to begin developing a set of skills that will serve them when
> drawing representationally later on in their studies e.g faces, the human
> form, mass, light etc.
>
> I'm going to factor life drawing into the series of sessions but I wondered if
> there were any cornerstone exercises that members called on to:
>
> 1. loosen up (or possibly tighten up!) the eye/hand and
> 2. get students out of the mindset that photorealistic renderings of a
> subject don't equate to the most successful/interesting drawings
>
> I have two or three ideas that can be varied and we'll also be going out to
> different locations to make a series of drawings at each site.
>
> This is going to be a year long programme and my initial thought is that the
> most important factor in the students development is to get them making as
> many drawings as they can. They will be using A4 sketchbooks to gather as much
> information as they can and then, seed larger pieces of work when back in the
> studio. Of course my hope is that the group will start to formulate their own
> drawing aspirations and practices beyond the initial projects and tasks set
> for them.
>
> Any thoughts or advice would be gratefully received.
>
> Thanks in advance.
>
> Dan
>
>
>
>
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