marianne
taymani
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Charcoal drawings
Following our small scale pencil drawings in our books, we began to experiment by strapping tips of charcoal on our fingers with masking tape.
We first did a drawing 'normally' with charcoal, Then we did one with 2 of our fingers attached to charcoal.
The experiment was in order for us to make our drawing an extension of our brain- it helped us draw from our eyes directly to our fingers
“To draw is to look,
examining the structure of appearances-
A drawing of a tree shows not a tree but how the tree is seen.”
― John Berger
In our first charcoal drawings, we all chose a space around the structure and began to draw. After a few minutes of drawing, the teacher told us to rotate. We would then move clockwise and puzzle out the other person's drawing, and then continue to draw on it. This activity helped me see through the artistic eyes of my peers, and enabled me to be critical, and remove marks that I didn't like as much. The modification of another's worked enabled me to see the composition from a different perspective and encouraged teamwork.
After drawing with 2 fingers, we then added charcoal to the 2 remaining fingers of that hand, so we had a hand of charcoal.
After 1 hand, we did an 8 finger drawing. I found this extremely trying on my coordination as I had been accustomed to drawing solely with one point- sucjh as a pen or pencil tip. suddenly I had 8 marks to make simultaneously, whilst observing the subject at the same time. I'm afraid to say most of the marks made were repetitions, as i struggled to map out where to go when I had so many fingers to draw with.
In the end, I had to sit back on my haunches and thoroughly examine my previous drawings, the structure, and the marks already made to try and unscramble my mind.
A group drawing
two-finger charcoal drawing
One-hand charcoal drawing
two-hands charcoal drawing
Lastly, We had three hours to do an A2 free-hand drawing from different parts of the composition. I chose the left area, because I found the box with blood-red fabric spilling out and pieced by a pitchfork combined with the bin lid very visual and compositional. the middle, I saw as fluid with flowing netting wrapped around the teapot, and I chose the tight because I loved the sheer fabric that covered the box.
I felt more free to draw, but rom the drawing exercises I now took greater care and attention towards space.
At the end of our three drawings, we taped them together to form an out-of proportion new composition. I then used chalk and charcoal to join up the three drawings so they looked like one.