The name of the brief for this project was Inside/Outside. After visiting the Walker art Gallery for inspiration and after viewing Louis Daguerre's 'The Ruins of Holy Road Chapel' I came to the conclusion, that buildings and a monochromatic approach would be my starting point.
I began with some simple linear drawings of views from my windows of sections of buildings and the surroundings.
A5 Linear sketch
The contrast between busy and quieter sections, gives the viewer a chance to divert from information. I've used different line technique to portray different formation of trees. 
A5 Linear sketch
As this image was drawn from closer observed scenery, It was suitable to use a thicker fineliner, than done previously. The bottom half could be improved by using a thinner fineliner, and drawing the brickwork behind the lattices. However the trees are well represented, and show direction of the leaves.
A5 Linear sketch
The direction of the drawing has been achieved, and I chose this view to give the drawing continuity.
I have done these images in this way as I am interested in monochromatic imagery because line, tone and composition rely on technique and mark making instead of colour. I took some photos of buildings and started using different materials. In all the images i have picked out the main lines and shades instead of focusing on the finer detail.
A5
Willow charcoal, less successful as dark and light are not emphisized and the material has smudged over the lighter areas.
A5
Compressed charcoal, one of the more successful pieces, as there is a more distinct contrast between light, dark and mid tones.
A5
Charcoal has worked because the lines are quite thick and dark, so gives an overall gothic look. This would work well on a large scale image of a gothic stled church or building ruins.
A5
The size of the graphite is too large for this scale of work, but is good for shading and bigger marks.
A5
Ink, some sections work, but there is too much ink put on the page overall, however, i have used thin and thick lines to show the different techniques that could be used.
A5
Mixed media, I've used a combination of ink, charcoal, compressed charcoal, fineliner and graphite, which has worked as there is a variety of tones and thicknesses of line.
A5 Ink Sketch
Section of a building, ink to establish tone and reworked parts by adding charcoal for outline.
A4 Pen and Wash sketch
Using techniques of artists Peter Brown and Martin Turner, using fineliner and water to create an ink like effect and reapplied fineliner to highlight outline and darker tones.
Close up of section of above image.
A3 Ink drawing
Different dilusions of ink have created tone and pure ink has been used to form dark areas, detail and outline.
A3 sketch
This was done in response to a photograph I took, I drew the outline in graphite, put ink as a base layer of tone and followed by compressed charcoal, mark making, I have left sections without charcoal to see the stages.
A4 Ink and watercolour
Started to introduce subtle hints of colour, without loosing the monchromatic feel.
Close up of A2 monochromatic building
Close up of A2 monochromatic building
A5 graphite sketches
Using similar elements of Robin Capon and Julie Hydes sketchy line drawings, to produce a loose line effect.
I've reused the previous drawings, and inherited techniques of Nick Hebditch and Tracey Murkett, using watercolour.
A5 watercolour
A5 watercolour
2 A5 watercolour loose line sketches.
3 A5 watercolour sketches influenced by Carol Mountfords cityscapes.
A4 watercolour, elements of Nickhebditch and Tracey Murkett's work.
A3 watercolour
1 of 2 A1 watercolour Final Pieces
Close up of A1 watercolour building
Close up of A1 watercolour building
2 of 2 A1 watercolour finial pieces
Close up of A1 watercolour building
Close up of A1 watercolour building
Close up of A1 watercolour building
