In my opinion, the whole idea of Workshop 4 “Fluid Thoughts and Movement to Actions” was to draw out the creativity, intuition and observational skills of students as well as enhancing students’ drawing interest using different techniques with two main mediums – charcoal and ink.
There are three benefits that I can identify throughout my four week progress.
Firstly, this workshop helps me to see more vividly the link between art and architecture. By learning how to observe and draw lines of different tones, intensity and forming light and shadows with ink and charcoal, I am able to express architecture through art. Masters of architecture like Alvar Aalto, Glenn Murcutt and Alex Popov are but some examples of architects who create architecture through art. This workshop elevates my appreciation for art – in particular hand drawings.
Secondly, I have learned the importance of observational drawing. One part of the worksheet states that “The camera is a tool for idlers, who use a machine to do their seeing for them. To draw oneself, to trace the lines, handle the volumes, organize the surface…all this means first to look, ad then to observe and finally perhaps to discover…and it is then that inspiration might come”, and this reminds me of the good feeling I have when I draw on site instead of looking at photos that I have taken.
Thirdly, I learned the need to be honest, spontaneous and confident in any drawing process. I produce what I see when I do a change in position or a change in space in my drawings, and when I do that, the results are not superficial. I used to be very careful in my drawings, and my tutors encouraged me to produce drawings with speed and spontaneously. Now, I am more confident with my ink brush and charcoal. I never thought that I would be using those two mediums to such an extent and this workshop has challenged me to reach greater heights in the world of drawings.
My appreciation goes to Anton and Chrissie, my tutors, and friends who have helped me along this workshop.
Friday, August 21, 2009
Workshop 4: Fluid Thoughts and Movement to Actions
I endeavour to make a folio that can be opened and closed like a book and one that can stand on ground for display. Hence, I have chosen foam core which is light and tough, with the only disadvantage compared to MDF board/plywood - pricey.
My folio is mainly made up of black and white foam cores, with the intention of maintaining the same style as what my drawings mainly consist of - black and white spaces and lines created by charcoal and ink. Besides having fourteen foam core bases for my drawings, I have added two additional foam cores as the front and back cover.
I have added frames along the A2 foam core bases to create a nice visual effect for the sides of the drawings. The whole process of cutting and gluing up the foam cores took more than 15 hours. It was a strenuous task but the results were great. The foam cores were then punched with two holes at the left sides respectively and tied together with strings.

Folio spine tied by string.

A top view of my folio.

A spread out of my folio standing on ground.

The folio description and details of the fourteen drawings.

A closer view of the folio description.

The contents and details of the 14 drawings.

1st drawing: Tonal drawing in charcoal plus blind contour drawing over tonal drawing.

2nd drawing: Tonal drawing in charcoal involving a change in position midway through.

3rd drawing: Tonal drawing using paper collage.

4th drawing: Tonal drawing using charcoal applying ‘blind contour’ and ‘change in position’ techniques.

5th drawing: Observational drawing in watercolor 1.

6th drawing: Observational drawing in watercolor 2.

7th drawing: Observational drawing in watercolor 3.

8th drawing: Observational drawing in watercolor 4.

9th drawing: Observational drawing in ink involving a change in space and position.

10th drawing: Observational drawing using ink and charcoal involving the simulation of transparency.

11th drawing: Drawing in ink of a detailed examination of a building involving at least one change in space.

12th drawing: Observational drawing of the Museum of Sydney in ink.

13th drawing: Observational drawing of the Museum of Sydney in charcoal.

14th drawing: Observational drawing of the Museum of Sydney involving a change in position technique.
My folio is mainly made up of black and white foam cores, with the intention of maintaining the same style as what my drawings mainly consist of - black and white spaces and lines created by charcoal and ink. Besides having fourteen foam core bases for my drawings, I have added two additional foam cores as the front and back cover.
I have added frames along the A2 foam core bases to create a nice visual effect for the sides of the drawings. The whole process of cutting and gluing up the foam cores took more than 15 hours. It was a strenuous task but the results were great. The foam cores were then punched with two holes at the left sides respectively and tied together with strings.
Folio spine tied by string.
A top view of my folio.
A spread out of my folio standing on ground.
The folio description and details of the fourteen drawings.
A closer view of the folio description.
The contents and details of the 14 drawings.
1st drawing: Tonal drawing in charcoal plus blind contour drawing over tonal drawing.
2nd drawing: Tonal drawing in charcoal involving a change in position midway through.
3rd drawing: Tonal drawing using paper collage.
4th drawing: Tonal drawing using charcoal applying ‘blind contour’ and ‘change in position’ techniques.
5th drawing: Observational drawing in watercolor 1.
6th drawing: Observational drawing in watercolor 2.
7th drawing: Observational drawing in watercolor 3.
8th drawing: Observational drawing in watercolor 4.
9th drawing: Observational drawing in ink involving a change in space and position.
10th drawing: Observational drawing using ink and charcoal involving the simulation of transparency.
11th drawing: Drawing in ink of a detailed examination of a building involving at least one change in space.
12th drawing: Observational drawing of the Museum of Sydney in ink.
13th drawing: Observational drawing of the Museum of Sydney in charcoal.
14th drawing: Observational drawing of the Museum of Sydney involving a change in position technique.
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