Paolo Ferrara's Observational Drawing 2 Annotated Online Portfolio

Form and Shape

These are sketches of simple still life compositions.  The first sketch presents an interesting structure to the drawing, containing a good balance. Despite the mainly decentralised nature of this composition, there are no orphaned objects and the line of the sketch flows quite effectively along the objects. This can be seen as a line that leads the eye from the bottom left to the top of the large vase before going back down to the flower pot.

The second sketch is a less effective composition that depicts the same objects from a different perspective. Despite the lack of orphaned and kissing objects, the drawing seems to lack a decent balance, feeling rather awkward to look at as a result. The line of the drawing also seems to follow the same line that the first sketch presents, going from the bottom left, to the top of the vase and back down to the flower pot.

The third sketch, much like the first sketch, presents a good diagonal balance. The structure of this composition is also interesting due to its decentralised style. The line also effectively follows the whole range of the drawing, attracting the eye from the top of the flowers, to the tall vase and back down from the right side towards the tilted pot.

This finished drawing of a still life is a particularly strong composition. It presents interesting contrast between the soft texture of the cloth and the rigid, smooth metal of the candle base and vase. The balance is also effective, though slightly off put by the large vase by the side. However, it is once again interesting as a decentralised composition. The line of the drawing is also very effective at drawing the eye throughout the composition.

 Shadow and Light

These are three quick sketches of a cloth in a darkened room with a single, strong light. As still life drawings, they are all very effective at providing a good, sharp contrast between the bright areas of the cloth and its darker shades.

Foreshortening and Difficult Perspectives

 

 This landscape drawing presents an effective use of foreshortening. With the horizon and vanishing points both decentralised, we are presented with an interesting composition. The shading is also fairly effective, and the use of impressionistic techniques on the bushes and trees manages to mesh well with the drawing.

Human Anatomy

This figure drawing, being a self portrait, was an interesting challenge. Immediately it is important to note that the artist had to draw a frequently moving human. This is seen in the shading of the shirt, especially around the edges - I struggled greatly at drawing my shirt. There is some invented anatomy present. evident in my difficulty in drawing the leg. The hand beneath the sketchbook is also a prime example of the invented anatomy present.

 These are three quick sketches of a man in motion. The dynamism present in the anatomical structure of the male is conveyed effectively by the shoulders and the bent spine. The struggle of rowing is presented effectively by the body of the figure.

 This drawing of a naked female model has a strong structure. The pose and its weight is represented effectively. However, the model's right arm has been depicted in a very sausage-limb style.

 

 The first of these two sketches presents a good balance and weight, depicting the seated pose of the naked model effectively. The shading does a great job of outlining the shape of the model, allowing for the weight to be presented even more powerfully by her thighs. The weight of the second sketch, however, is more present towards the base of the neck.

Non-Human Anatomy

These are various sketches of animals that I have been able to draw. The first sketch uses impressionistic techniques to represent the feathers of the eagle instead of detailing each feather perfectly. This is rather effective, as it presents the shape of the animal effectively.

The second sketch is less effective as the weight does not feel convincing. As a result the pose of the animal appears less feral and more awkward.

The third sketch, though simple, presents a good weight for the pose of the bird, seeming light and nimble.

The fourth sketch is strong despite its lack of impressionistic techniques used to depict fur. The weight of the cat is presented effectively and feels correct.

The fifth sketch of the Elk skeleton also presents a strong weight in the structure of the pose, having the weight placed primarily on its front legs and shoulders.

This non-human anatomical sketch is particularly strong at depicting the animal. The weight is distributed effectively in the pose of the animal, allowing the animal to appear very dynamic. Furthermore, the animal clearly feels furry due to the shading at the front of the face and chest of the animal.

 Interior Landscapes

The first interior landscape presents an interesting composition due to the vanishing point being to the right of the drawing. The second drawing also follows this and has a vanishing point far to its right. Both drawing are effective in their shading and general balance, but they both suffer from problems with perspective and difficulties with foreshortening.

Natural Landscapes 

This completed natural landscape is strong in various ways. The background of the landscape is detailed effectively and feels properly distant to the viewer. This is amplified by a strong midground which flows successfully into the foreground littered by trees. The shape of the land is convincing through the shading of the drawing, though the clouds are not as well observed as the rest of the drawing.