Emilie Branford (UCAS CODE:115-425-7467)
CONTINUOUS LINE LIFE DRAWING
This diptych was created during a life drawing class using charcoal on A3 sized pale grey/stone colour paper. These were done very quickly and expressively (less than a minute for each) and I am extremely glad with the outcome because they look so organic and really reflect the expression and flow from my hand when I drew the piece. The continuous lines that have been created are really abstract, figureative and stylised which represent my style and even though the portraits aren't proportionally accurate, they still have their own charming personalities and narratives. This is through the enchanting curves and nature of the line, where it is thick in some areas and thin in the other is also crucial in the overall tone and atmosphere of the piece.
The reason why I made this piece into a diptych is because the drawings by themselves are whimsical but there is something about them when they are together that makes them really charming and aesthetically pleasing. whether that be the composition they are in (both being triangles) or the notion that there is a narrative of one figure peeking over the threshold between both sheets of paper (one could almost imagine the full image would look like the figure is on tippy toes as she is curiously looking in the distance) to look at the other figure.
CONTINUOUS LINE LIFE DRAWING
This diptych was created during a life drawing class using charcoal on A3 sized pale grey/stone colour paper. These were done very quickly and expressively (less than a minute for each) and I am extremely glad with the outcome because they look so organic and really reflect the expression and flow from my hand when I drew the piece. The continuous lines that have been created are really abstract, figureative and stylised which represent my style and even though the portraits aren't proportionally accurate, they still have their own charming personalities and narratives. This is through the enchanting curves and nature of the line, where it is thick in some areas and thin in the other is also crucial in the overall tone and atmosphere of the piece.
The reason why I made this piece into a diptych is because the drawings by themselves are whimsical but there is something about them when they are together that makes them really charming and aesthetically pleasing. whether that be the composition they are in (both being triangles) or the notion that there is a narrative of one figure peeking over the threshold between both sheets of paper (one could almost imagine the full image would look like the figure is on tippy toes as she is curiously looking in the distance) to look at the other figure.