Before the 1900s artists would realise the world from one point or view. The viewer would be presented with that view and would understand the scene from that perspective. This was a traditional way of presenting our understanding of the world two dimensionally that had been used for centuries in a western cultural ideal. However, our attitudes began to change at the beginning of the 20th century, and other ways of seeing began to be explored. Our attitude to the one point view began to change. Artists such as Picasso and Braque began to experiment with multiple views of the same subject on the same picture plane. What they intended to do was to present a view of reality along with another view of the same reality on the same piece of paper. Hence the birth of Cubism.
The moving view is the perfect way for us to extend our understanding of the world visually using the medium of willow charcoal.
objects you choose for your still life should have basic formal different characteristics. Position one of the objects in the group in a central position; this is for reference reasons in the following drawings.
1b/ Take up your first position and then draw your still life after the manner of the negative space drawing, locating your composition through the window mount.
1c/1d The next part of the drawing is to move your position or turn your still life around on the table so we are now looking at the group from the side. Start your second drawing over the top of the same drawing using the central object now as your reference point to compose your drawing. This point will be your main point of departure for your next drawing, as it will help you as the drawing develops and becomes more complex.
Repeat for a final time so that your last drawing as it were was from the back view. When you have finished you will have three linear drawings from the same still life done over the top of each other. 1e/ We can now begin to take from this drawing the visual potential it has to offer as with the previous drawings in this section. One way to do this is to take the window mount and place it over the drawing in different places until you find an interesting composition that you would like to transpose. Once you have made your larger copy of this section you can now begin to shade the drawing in as we have shown you in the pencil section - the drawing after Cezanne Landscape.
TONAL REDUCTION DRAWING USING SCENE PAINTER'S CHARCOAL
Scene painter's charcoal is very useful for very large line drawings or covering very large areas of tone quickly. In this project, we are going to use it in conjunction with willow charcoal to create a reduction tone drawing.
You now need a good strong plastic eraser to take out the charcoal to reveal the light. It is probably a very good idea to illuminate the still life as we have done here with the floral arrangement. When you start to rub out the light areas don't be too particular if you rub out too much as we can work back into the drawing at a later stage with the finer charcoal to bring back the detail. However, one should try to make the area as clean and as light as possible to give a good sense of contrast. When you are happy that you have removed the main light areas, you can now think about working back into the drawing with the finer willow charcoal bringing a more accurate rendering of the light and dark tones. In addition, give attention to textural and other detail where necessary. When you have finished the drawing, as with all charcoal drawings, you must remember to fix them.
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