1.1 Dramatic marks

Light and dark add drama to a drawing, accentuate values and thus convey a range of emotions. In art this has been used throughout history. (I should find examples of this…)

Exercise 1

  • blacken a sheet of paper with a lump of charcoal
  • Work parts of the surface with a putty eraser -> lights
  • Fast and light upstrokes with a thinner charcoal
  • Repeat until you reach an interesting image (keep it abstract)

 

I started this exercise without any idea how to achieve dramatic marks. But I chose a compressed charcoal block to get a really black dark.

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Stage 1

 

Soon the marks with the eraser became dramatic without me planning them to be. They were a revelation. They look like light spilling out and suddenly the picture has some depth.

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Stage 2

Charcoal is very sensitive to precedence. I had noticed this in earlier exercises, too, but here it seems very important to the outcome. Marks drawn later are very much in the foreground, earlier marks recede to the back. This gives a strong sence of depth and threedimensionality.

I am surprised how the white – not even clean paper white but only a light grey – gets such strong luminosity in comparison to the darker shades next to it. This spilling light effect reminds me of ink drawings by Rembrandt I have been studying this summer.

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Final picture

 

Exercise 2

  • Do the above again, this time with graphite
  • Add dark marks with graphite and ink

 

The dramatic effect is considerably less with graphite. I think this is because it is not as dark as charcoal.

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Graphite and putty eraser

To enhance the dramatic effect I finished the image off with black ink. The effect is somewhat stronger but nowhere near the charcoal image.

Graphite has a silvery sheen to it when tilted to the light. Ink stays matt. This ads an interesting quality to the image.

This exercise inspired me to play more. For the outcomes of that go here.

1.1 Fractured marks

Fractured marks a)

  • work with coal sticks on their side
  • make marks by dragging, pushing, sweeping
  • vary pressure
  • observe and reflect -> choose 3 for the Learning Log

3 marks

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Willow charcoal stick

fast movement with strong pressure, the stick held on its side and dragged in the direction it pointed, away from me.

I like the energy in this mark, and the way it changes in thickness. It has a strong direction

Willow charcoal is rather soft and reacts nicely to pressure. It is grey.

 

 

 

 

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Compressed charcoal in a block, used on its long and narrow side

Fast movement with a stronger pressure on the left of the block, dragging downwards perpendicular to the stick’s length

I like the shift in tone and the way it fades out in a curve. Hard to control though.

Compressed charcoal is very very black

 

photo-3Compressed charcoal block used on its long and narrow side

Writing. The pressure on the stick changes.

I like the transitions in this, both in bredth and tone which gives a threedimensional effect. Sweeping dynamic lines become more so.

 

 

Different types of coal

  • Nitram HB, stick, square -> brownish, very hard
  • Nitram B, stick, square -> brownish-grey, quite hard
  • Willow charcoal, round -> grey, soft
  • Compressed charcoal, stick, round ->  black, very hard on its side
  • Compressed charcoal, block -> softish, very black

 

Taking it furter

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The marks they make are very different and I noticed a depth effect as in athmospheric perspective. I tried that out:

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Fractured marks b)

  • make short broken marks, fill the whole paper
  • use thinner charcoal (draw with the tip?)
  • work across some of the coal marks with a putty eraser
  • Evaluate what you do and what effects you create

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I found it harder to find different marks and effects in the first part of this exercise. The use of the putty eraser widened that somewhat. My first attempts seemed uneventful to me compared to the use of the charcoal on its side. Closer inspection, however revealed new insights and nice effects

 

 

Effects

sudda
Volume: short lighthanded smudges >< long smudge with pressure
stempel
Copying marks by stamping with the putty eraser
smudging
Direction: smudging once in one direction. Could suggest movement
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Stabbing at the paper with the coal stick
pallet-knife
Smudging with a hard edge (pallet knife): indistinct smudges, some with a hard edge

 

Taking it furter

I then tried to use some of these effects intentionally in some kind of an abstract landscape (no doubt influenced by one of the example pictures in the course book). I tried to vary direction, size and character of the marks and use smudging in different ways to achieve volume and depth. I think I succeded quite well (Other opinions appreciated!)

hel-bild

 

Fractured marks c)

  • Repeat the above with water soluble ink, feltpen etc
  • Use water instead of the eraser

 

I loved playing around with this. Water reacts in unexpected ways and is hard to control. Some of the effects I find spectacular.

 

First attempt
photo-3Some of the same problems as with the coal, no new marks appearing readily. When applying water I went off on a tangent learning to use the pinstriping brush. This needs more work! It has some exciting possibilities. The “geese” and the shaded sweeping lines are made with it.

 

Outcomes of play

I started out making fractured marks, but probably left that somewhere on the way

direction
Direction to otherwise directionless marks
fadeout
Beautiful fading
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Refill runoff with more ink – ink stays in the water’s path
ink
Hatching becomes softened and the lines begin to disappear
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Using the ink in a line to make more marks – dry bristle brush
flyta
Ink line into area with fine waterdroplets (toothbrush)
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Ink line into area with larger waterdrops (brush)
spritzer
Toothbrush sprinkling over area with ink splatters (notice the green appearing)

 

Different drawing materials:

  • Winsor & Newton black Calligraphy ink does not run and smudge readily once dried, but blooms wonderfully when fresh.
  • Waterman fountain pen ink does smudge and bloome very easily, to the point that the original line disappears.It carries far when fading out.
  • Waterman blue-black ink splits in water revealing a phtalo green component
  • Watersoluble (ws) graphite smudges but the original line stays clear.
  • Ws graphite does not carry far when fading out edges
  • Water changes the reflection of the light in areas covered with ws graphite making a mark that differs in texture but not in tone (?)

 

Conclusion

Marks have different elements that influence it

  • kind of material used
  • paper
  • grip, how I hold the pen, coal etc.
  • direction – can change within the mark
  • pressure – can change within the mark
  • Working a mark with eraser or water can give it volume and depth and change the mark considerably

 

Hands on the Train

This week’s early morning on the train sketches. I studied hands – one would think that they are kept fairly still when holding a mobile phone or a book but this is not so. They are all very fast sketches with the exception of the one that is writing.

I felt the same as with life drawings: compact poses turn out better, fingers in their whole length seem to make it very difficult for me.

Luis Deza

*1953 in Amazonas, Peru

His work includes paintings, sculptures and installations in a range of materials.

I came across these two masks in a café in Stockholm and was captured by them. I love their shape, the colours and the free use of materials. They feel like threedimensional paintings.

 

Patrick Hartl

*1976

Urban calligraphist, freelance graphic designer and illustrator, Munich. He has his artistic roots in Graffitti which I think shows in his pictures and is one of the aspects I like in them. Diverse experiments in illustration, calligraphy and digital compositing have devoloped his art into what it is today. He prefers working by hand but says that he is tempted  by digital possibilities, mainly in combination with handcrafted work.

For exhibitions, awards, publications and his artwork see:  http://www.patrickhartl.bigcartel.com/

Source: https://www.facebook.com/stylefighting/, published with kind permission from the artist

What fascinates me in these pictures:

  • Writing as a pattern
  • how they are built up in layers
  • the energy and movement in them
  • Cobination of the strict writing with handwriting and less controlled elements like splatters, drips and washes

Warming Up Exercises

0.1 Drawing Small >< Drawing Big

Small: Fill an A5 sheet with 0’s, left to right

  • use different pens
  • use different papers
  • alternate strong and weak hand betw. sheets
  • Evaluate

photo 2.JPG

1. Waterman fountainpen, ink on printerpaper

The writing tools instantly put my body in writing mode: posture, grip, movements, even the taping of the paper to the table at a slight slant to the left followed the six years rigorous writing lessons I got in school.

Movement: for the form out of the wrist, for the movement along the line out of the shoulder in small steps

Rhythm: very prominent, in three parts rythmically repeating 3 distinct sounds: ‘pen to paper’ – downstroke (strong) – upstroke (weak)

Overall: Tidious. Had to concentrate to not do it sloppily

2. Rothring Artpen 2.3, ink on printerpaper

Movements felt much less excercised. First three rows from right to left – until I noticed. Shapes larger – due to writing tool and left hand.

Movement: For the first ovals the hand learned and wrote with only the fingers. Further down it got more confident and the movement also came from wrist and shoulder. The downstroke was quite good, the upstroke kept wobling.

Rhythm: Slower, less prominent

Overall: Not tidious at all. I felt very concious of writing, was exploring and learning.

3 Promarker twin-tip, pointy end on newspaper

Did not feel like writing. Very easy flow. Larger shapes due to thickness of pen (both to hold and with regard to its mark)

Movement: from wrist and shoulder, very sure

Rhythm: as in 1 but less prominent in its sound

Overall: The print on the paper distracted from my shapes, felt like blind drawing at times

4 6B pencil on masking paper

Again, my left hand wanted to start in the upper right cornerm, I noticed and changed. After three rows I also noticed that I do the shapes the other way round. I tried to change that, too, but the new ones got very wobbly and I felt very strongly that I am working against my hand. So I changed back.

The wobblyness of the upstroke showes more with the pencil.The masking paper has a nice grip.

Movement and Rhythm as in 2

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Big: Fill an A1 sheet with 0’s in columns

  • use a coal stick in your fist
  • alternate right and left hand after each column

Experience

  • I stood over the table for this exercise.
  • It took me some 0’s to find a grip that neither smudges nor makes the coal stick shriek.
  • differences between right and left hand were insubstantial. Only the direction of the 0’s changes
  • With the fist grip my hand gets in the way for my eyes -> hard to position the 0’s

0.2 Drawing in short and long bursts

Short bursts: Fill an A1 sheet with short bursts

  • paper on the wall
  • small, short zigzaging lines
  • alternate hands on the count of 5
  • step back and look

Experience:

  • Difference between right and left felt insubstantial.
  • I felt I wanted to make the zigzags larger. The energy felt very contained.

Observations:

  • I had made very few overlapping lines
  • Some of the marks were very energetic and living. They have a different quality at the onset and at the finish and the up- and downstrokes are different. The coal reacts to the pressure I put to it by making broader/narower and darker/lighter marks. These fade into each other and produce a feeling of 3-dimensionality.

Long bursts: Fill the whole sheet with long marks

  • take your time, what marks will you make?
  • work for at least 15 min

I wanted to make long and sweeping marks from bottom to top and from top to bottom.

Experience:

  • The first, planned, marks I made with the arm only.
  • When I made more complex marks with a rhythm the whole body joined in like in a dance. This felt great! I developped that from onehanded to twohanded and grew it over the edge of the paper.
  • My hands like to work together:
  • When the coal drawn on its side runs thin the fingertips make lighter marks in the coal on the paper and dark marks on fresh paper. I explore that.
  • Crushed coal against the paper to make the last white patches black

By the end all was quite uniformly grey. So I decided to finish off with some really dark strong marks with a thick coal stick:

0.3 Using your fingers, wrist, elbow and shoulder

1 Let the pen dangle

  • A5 paper
  • black pen (I used a Pitt F, a fountainpen with blue ink and a Japanese Brush Pen)
  • only work with your wrist (and fingers?)

Experience:

I liked this: The marks get erratic and very hard to control from the back of the pen.

It is hard to only work the wrist without the fingers. The two are linked and work together I feel.

photo-2

I like the marks the brush pen makes when it paints with its side and the transition from fine to broad mark.

2 At Arm’s Length

  • Use the whole of your arm
  • Make straight downward and upward strokes on a A1 sheet on a wall
  • Alternate between left and right and between up and down

Experience

The downstrokes were easy, the upstrokes needed som getting used to. When I changed my hand so that I drag the coal in the upstroke, too, it got easier.

3 Using your shoulder

  • A1 or bigger on the wall
  • Work from your shoulders
  • Make a circle with your right arm, then one with your left. Go round the circle several times, until it is thick and black

Experience

Before I started I had watched a film with Tom Marioni making a perfect circle, using a straight arm, only moving in the shoulder. I was impressed. But I found it was not all that difficult (although mine are not nearly as perfect as his), provided I kept very still and really only move my shoulder. Then the arm works a bit like a compasses.

photo-4

Early Morning Sketches on the Train

Pitt pen S (almost empty) in A6 sketchbook, Pentel colourbrush sky blue

I commute for 30min every morning on the 6.09 train into town. It is not easy to sketch in the train – either the subjects are all turned to the front with their back to me or will sooner or later understand what I do. I feel I impose on them and try to draw sureptitiously. However, once I started it gets easier.

Here a sample from my early morning sketchbook

 

The frizzly lines are mostly due to my pen giving up. In some pictures I like it – e.g. in the headphones and in the girl’s face in the picture with the blue hat. In others I feel it is too much – namely the one with the worker’s jacket and legs.

I want to learn more about hatching and how to use it to best effect.

Open Life Drawing Class

Two hours life drawing at Konstnärshuset, with Sissel Wibom

Medium: Coal on newspaper sketchpad, A2

Having only done life drawing in evening classes the pace of this was a bit of a shock. There was no feedback, no information or tips – just high intensity drawing. There were 20 poses in sequence with a short break in the middle: 5 x 2min, 3 x 5 min, 2 x 10 min – break – 2 x 10 min, 3 x 5 min, 5 x 2 min

It has been a while since my last life drawing class so I needed the first ones to get my bearings on the paper. By the 5 min poses I had found my stride and worked satisfactorily until the end of the second part, when I got really tired in my head.

Working from short poses to longer ones seemed natural. However, the other way round I found very difficult. I again lost track of the scale with the shorter poses at the end.

Proportion and Foreshortening

I had problems with proportion and fitting the whole body on the page. I tend to draw in different scales so that the head and torso are much larger than the arms and legs. When I tried to begin with the feet I had no room for the head instead. I did try to mark top, bottom and middle to begin with but forgot about them when I had started drawing.

I noticed that I like seated and other compact and twisted poses better than standing ones. The risk for the two scales gets less I think. And I like extreme foreshortening. Maybe the angles and shapes are so unexpected and strange that I am not distracted by what I know.

Left hand drawing

I used an A2 sketch pad of newspaper paper with a rather weak cardboard back. By the end of class my hand holding the pad straight ached so I changed hands. I love using my left (weaker) hand. I somehow feel the act of drawing/writing more acutely than when doing what I always do. I like the quality of the lines, although they are a bit wobbly. I want to use it more. It could be a way to unhinge the controle I put on everything?

left

The Research Trail

To get started I decided to do the Assignment suggested in the Introduction to HE course.

Assignment

Research a work of art and note into my learning log

  • Notes, diagrams etc – How I did my research
  • Documentary evidence
  • Summary of the outcome

Aims

  • Demonstrate skills described in the Introduction Course
  • Produce summary material
  • Evaluation of my work and experience
  • Use my learning log to
    • Collect, analyse, reflect
    • present finished work
    • reflect on my experience

Decision

To visit the Museum of Modern Art, Stockholm, and choose a painting for this assignment. Idea: a painting with lots of different marks in view of coming coursework. I found none I was happy with so I went with one that caught my interest due to a question I put to myself the other day when playing with collages:

What do the glued in bits contribute? Why not paint the areas instead? Are “because they’re pretty” or “because I can” good enough reasons?

Initial Research Plan

photo

My own Thoughts

Description

Pablo Picasso: Bouteille, verre et violon (1912/13); Collage with paper, coal, graphite

Colour Range

Subdued, old-paper-brown, black (coal) and grey (graphite). Background white

Description

The pictuer shows a cubist (?) representation of a violin in the righthand third. It fills its space top to bottom. On its left “shoulder” are geometric shapes that can be made into a very simplyfied representation of a violin: the 5-shape of its midriff, a part of a circle for the top of the body, a rhomb for the neck and a circle for the pegbox and scroll. Two dark areas behind the neck/strings of the two violins suggest the fingerboard. In the middle of the picture a bit of newspaper is glued, it sais “Journal” in bold capital letters, slightly slanting uppwards to the right. Below that is a rectangle standing on its short side (presumably the glass from the title). The top half of the leftmost third contains the image of a bottle as a papercut.

Balance

Compared to the left and middle thirds which contain one element in the top half (bottle) and a rectangle and “Journal” in the lower half respectively, the righthand third seems crowded. It contains two representations of the violin which are – in contrast to the simple shapes of glass and bottle – rather complex as they are shown in several sections, several mediums and styles and are perspectively challenging.

(Compare with Paragraph “The Golden Ratio”)

Mediums

Cut out bits of newspaper: bottle, glass, “Journal”, background behind the geometric violin, background behind the pegbox/scroll of the large violin, glass

Wood imitation wallpaper (?) or similar: part of the righthand side of the large violin

Coal: pegbox and scroll, geometric violin

Graphite: rest of the large violin, a line from the fingerboard to the right and down behind the wood imitation bit (=> side of a table? ), lines around “Journal” and glass, the bottle stopper

Observations

  • Newspaper cutouts seem to take the cubes in cubist pirctures a step further as they are actual cut outs (the effect the strong straight lines cutting through objects in cubist pictures has on me, being cut)
  • The scroll reminds me of the Golden Spiral representing the Golden Ratio -> check out releationship between G. Ratio and Rule of Thirds. The Rule of Thirds seems to have been observed: the geometric violin lies roughly on the line betw. 2nd and 3rd third with its pegbox approx. on the upper cross -> focal point
  • Marks and lines: The lines in the Scroll are very defined and sure, black. This is an experienced drawer at work. By contrast the body and strings of the violin are drawn in fyzzier pencil lines, less defined, slightly wobbly. Why did he do that? – I think: The scroll is the part of a violin that is wholy static. Here, the strings are pitched and find their anchor point -> strong sure lines. The body, strings and bridge vibrate to make the music, they are dynamic -> dynamic lines, “vibrating”, less defined and also less defining. I wonder, did Picasso play the violin?
  • Elements: Why so many different styles, mediums in the violin? It seems all the different mediums and styles each convey an aspect of the violine, showing it not only from diff. points of view, but also different properties of it:
    • woodimitation -> material right, but not really the form
    • pencil -> static versus dynamic as outlined above
    • golden ratio scroll -> harmony ?
    • geometric representation -> shape, parts, basic construction. Violin as an object, a body
    • small and large f-holes -> musical dynamics (pianissimo to fortissimo)
    • => viewed like this, this “garbled” representation of the violin is much more “accurate” or true to a violin than would be e.g. a photograph ->check out what impact photography had on painting
  • Why the word “Journal”? Why is it smack in the middle? “Journal” in French means Newspaper and Diary
    • understood as newspaper it puts a focus on the clippings. I notice that the geometrical violin – a representation like that must have been very new indeed at the time – is in its entirety drawn on the newspaper -> is “in the newspaper” – is News. So why too is the very neatly drawn Golden Spiral scoll and pegbox? Harmonious pitching -> a new harmony for painting in cubism?
    • Understood as diary: I see a representation of the artist’s day: sketching, drawing, thinking about representation while sitting at a table with a newspaper and a glass of wine. A still life. Seen in this manner the violins are sketches, drawings rather than actual violins. Ir the big one might be and the geometrical one is the drawing -> it is on a piece of paper -> a drawing lying beside a violin.
  • Where is the focal point – in the middle, or in the upper right cross according to the rule of thirds? -> Learn more

Evaluation so far

I am overwhelmed by the amount of ideas, details, lines of thought to follow up, artistic elements etc. I was able to find once I started looking and discussing. And this is a picture I was not even very fond of at the outset.

Research plan (2nd edition)

New lines of enquiry have evolved:

photo-3

Research

Biographycal data on Picasso

*1881 in Spain, +1973

Studied classical painting with his father and at an Art Academy. Realistic paintings. 1898 broke with his studies to join a group of avantgarde artists.

1900 moved to Paris with a friend where they led a bohemic life until the friend commited suicide (1). For the following years Picasso’s paintings were sombre and quite depressive, painted in mainly blue tones -> Blue Period. Influences from El Greco (2)

By 1904 his pictures became more about social injustices and statements against capitalism (Circus artists).

By 1906 influences from Césanne became more prominent, esp. Césanne’s radical treatment of space. Primitive art (mainly African) also caught his interest. He admired the “expressiveness” and “formal strangeness” of African masks (3). -> used as inspiration but never sought to understand them or the cultures they sprang from.

1907 “Les Demoiselles d’Avignon”: shows many sources of inspiration and influences but is essentially a very new way of painting. The picture was shocking to many, it was very radical and was refused at the Salon d’Automne.

Georges Braques embraced this new way of depicting -> the two painters workd closely together. They conducted visual experiments that led to the forming of cubism. The word derives from “little cubes” which Matisse is said to have called Braque’s paintings and the critic Vauxcelles, too, talked of a reduction to cubes when writing about these paintings.

1917-1924 Picasso painted more realistically, but still with a flattened picture pane (2).

After 1924 he went back to deforming reality but now not to show different aspects of it but rather to express his own feelings and reachtions to it.

Picasso’s  artistic career was long and very productive. He continually developped his art that came to encompass paintings, sculptures, assemblage and more. He was influenced by many artistic movements but never committed himself to one. Rather he let himself be inspired by new ideas and developped them into something that was his own.

Césanne (3)

*1839, +1906

Césanne exhibited with the Impressionists although he had a different approach to painting. Rather than capturing the fleeting effects of light he sought to study the “sensations of nature”. He said his paintings are “not a representation of nature but a construction after nature” -> highly structured paintings.

He began to challenge traditional rules of perspective and space:

->depicted objects from slightly different angles in one and the same painting

-> flattened the picture pane. There are elements of perspective (e.g. athmosperic perspective) but he treated them less strictly than was custom then and he also used large areas of flat colour.

Césanne had strongly influenced both Picasso and Braque.

Cubism (2)

1908-1914, fully developed by 1910/11

Constitutes a break with traditional realistic painting

Elements:

  • Mainly geometrical forms as colourfields with
  • defined contours around objects, one side often dissolving into a nondescript background (or middleground?)
  • Pockets of dark colour giving an impression of threedimensionality
  • Broken shapes on a flat picture pane
  • subdued colour palette

analytical cubism 1909/10: visual fraction of objects as if to analyse them

sythetic cubism 1911/12: picking apart objects and rearanging them in a new way to conform with composition rather than perception.

After 1912 the pictures became rather more recognizable again. Neither Braque nor Picasso quite let go of reality into fully abstract paintings. Total abstraction never was the goal.

Cubism has influenced most artists of the 20th century in one way or another (2).

Time – In what kind of time was the painting made?

The early 20th century was a new era in very many ways that opened up for new ways of thinking. Suddenly things were possible nobody had dreamed of before and old truths got toppled over:

  • Einsteins Theory of Relativity shakes the foundation of Newtonian physics (3)
  • Many technological achievements (3) challenge people’s understanding of the world which led, among other things, to far-reaching social changes
    • powered flight
    • automobiles
    • industrial developments
  • Psychoanalysis changed how people see their own mind (3), their nature, free will etc. Reality is no longer all there is to the world.
  • Photographic process had become easier and thus more accessible to a broader public (4)
    • -> challenges to painting
    • -> changes to aesthetics (4)

New and revolutionary thinking was strong

Collage (2)

Developed from “papiers coupés”, a technique Braque had introduced to painting: the inclusion of cut bits of paper glued to the canvass/paper. Collage uses not only paper but all kinds of materials. Other techniques have developed from collage, e.g. assemblage which could be called a threedimensional form of collage – assembling (found) objects to form a work of art.

Golden Ratio

A proportional relation between two lines, where the proportion of the longer to the shorter one equals the proportion of both lines together to the longer one. Mathematically:

a/b = (a+b)/a

This formula gives a constant φ, that like π goes on indefinitely:  1.6180339887498948420

This proportion has been found to be harmonious and very pleasing to the human eye. It has been widely used in art and architecture since the dawn of time it seems. In the Renaissance it was a basic element of composition.

The Golden Spiral is a logarithmic spiral that has a growthfactor of φ. Interestingly it exists everywhere in nature: mollusc shells, pine cones, seed arrangement in sunflowers etc. Drawn into a rectangle where the side lengths correspond to the Golden Ratio it can be used to get a φ-grid. It looks roughly like a grid of thirds but the three rows (and columns) are not of the same width. It is seen to be less rigid and less obvious than a grid of thirds (Rule of Thirds). Focus lies in the centre of the spiral or along the lines and their intersections.

=> In “Bouteille, verre et violon” by Picasso I would say that the centre of the spiral lies on the peg box of the geometric violine! Furthermore, the “action” of the picture is concentrated in a similar way as the line of a Golden Spiral concentrates, leaving the lefthandside almost empty in contrast to the righthand side where the line spirals.

Research Map (End of assignment)

mindmap

Sources

1 Fox, J. (presenter): Blue – A history of Art in Three Colours. BBC Documentary, published 2012

2 Jørnæs, B., Hornung, P.M., Sandström, S: Fogdedals Konstlexikon. Copenhagen, 1995 (Swedish Edition)

3 Stockstad, M., Cothren M.W.: Art History. Pearson Education Inc., USA 2008 (5th edition 2014)

4 Bragg, M. (host): In our Time: The History of Photography. BBC Podcast published July 7, 2016

Reflection

I did this initial research assignment to get a feel for what is coming with regard to theoretical research. I found that I do it quite easily although it was very time consuming to find adequate sources, keeping track of them and write one coherent document.

Mind mapping is new to me. I had come across the idea in earlier studies but never really used them. This time I found they make a good overview on which to build my research and not loosing track of where I’m going. It was fascinating to see how the map grew. My initial research plan seemed quite complete to me at the outset. Compared to the mind map at the end it was rather poor (or better, unspecific).

I can see how this kind of research can lead to understanding theoretical concepts and widen my understanding of art. In this specific case I am not sure what I want to take into my own work. The picture I chose whas not one that moved me or interested me to begin with. However, I am no longer indifferent to it and have experienced that there is often more to a picture than meets the eye at first glance. What I learned about the Golden Ratio/Golden Spiral I will defenitly use in coming compositions.

I have in my career so far developed a clear way of thinking. This came in good stead in this assignment and certainly will in others. I feel, however, that I need to develop intuition, fuzzy thinking, letting go of control to be able to tap into my creativity in the way I want to. I hope that I will be able in future to take the leap from theoretical research into visual research and from there into my own work.

To answer my initial question about the reason for cut out bits I need more research and experience.

I am very glad I took the time to read the Introduction to HE document and complete the assignment. It gave me oportunity to get my bearings on the Student website, set up my blog and check out some of the resscources on the internet and in my town. It contains some very good advice on time management and study technique that will be helpful to me. I wish I had gotten advice like that when I started my university studies…