Beruflich Dokumente
Kultur Dokumente
pages with carefully created colour charts involving your observations on mixing and blending paints or textures
pages with carefully created structural analysis involving your observations and analysis from your own photographs
pages with carefully created observational work involving your thoughts and observations
annotations
colour samples
Use your pages fully; explore observational drawings through general viewpoints and detailed
sections, extract the colour from your objects and place them elsewhere on your page to show
that you have carefully thought about what you are seeing.. Investigate, analyse and then
understand !
Make your
drawings look like
you are
enquiring into
the objects or the
items that you are
sketching (trying
to find out
information); do
not just
copy/draw them
the once
Take your own photographs and then adapt your photos through working with different materials
Original photograph of a
hole/cavity in tree bark
Use your sketchbook pages productively; vary the scale of the images, overlay your drawings
with details using a variety of materials
watercolours
coloured
crayon
felt/marker
pens
pencil
ink
oil pastel
and
white-out tippex
Use the above materials in combination to explore different ways of developing your ideas, but
at the very least you must use all these media throughout your books..!..
Make your
pages visually
lively
however
occasionally a
large single
image is most
effective
The examiners jokingly call iwbs with pages of photocopies .. a catalogue collection
Who
What
When
Where
How
http://www.artchive.com/artchive/K/klimt/klimt_bloch-bauer1.jpg.html
Gustav Klimt
http://www.theenchantedg
allery.com/klmt090.html
Anne-Marie Quinn
This sketchbook evolved out of the
need to form ideas for a commission.
The work had to reflect the sense of a
journey, exploring and discovering
hidden, undiscovered parts of the
world. I worked with rich colours and
textures, building up layers and
thinking about the core of the earth,
incorporating drawings of fossils,
shells, butterfly wings, and then
beginning to suggest architectural
details and elements of the
landscape. I tried to capture emotions
and feelings. Even though the
imagery conveys quite vast
landscapes, I was concerned to create
an atmosphere of intimacy and
gentleness, of sympathy and
humanity.
Margaret Jackson
pages from
Venice Carnival Book
Jill McCarthy
My sketchbook is a personal
collection of drawings, photographs
and bits and pieces that make up
daily life. Treasured fragments are
concealed in its pages a tiny silver
paper decoration from my
grandmothers wedding cake and
shopping lists she wrote as a very old
lady. It is the detail of personal
experience, past events and response
to place that I like to incorporate into
my work as a kind of record or
memorial.
My sketchbook pages
have grown
outwards in an
organic manner as
the key themes of
family, landscape,
fragments and figure
evolve. Geological
processes have
always fascinated me
and I like the analogy
of memories
released over time
like fossils slowly
revealed through
erosion.
Jean Littlejohn
Evidence of
thinking about
possible media to
use
Evidence of
forward
thinking
planning
whats
coming next
Evidence of
visually exploring
a range of
compositional
possibilities
Evidence of
thinking about
additional
compositional
possibilities for
studio based work
Evidence of using different media
If you could. What would you add to this page to make it even more
successful in terms of an iwb .? (what do you think could be missing?)
Once you have completed this task you can repeat the process but choose what you feel to be
the most exciting sketchbook page from one of the sketchbooks that you can link to from this
site:
http://www.gis.net/~scatt/sketchbook/links2.html
ans: .