GUIDELINES FOR CANDIDATES WORKING TOWARDS A FOUNDATION INTERVIEW
General Points of Advice
- Try working at different speeds and for different durations, for example, working sometimes on a series of quick studies of several minutes each, and sometimes for longer periods, allowing repeated looking and working back into your drawing.
- Return to a piece of work on another day (perhaps at the same time, for consistency of light etc.) and rework it, or do the same subject again in another way.
- Be self-critical, and do not be reluctant to rub out and change things, when needed.
- Put your work up on a wall, so that you can see it continuously, and begin to recognise its shortcomings.
- If you know anyone else awaiting interview, see and discuss one another’s work and difficulties.
- Try to devise and keep a regular personal routine of working, try always to take risks and extend yourself and your understanding.
Media and Scale
- Do not spend large amounts of money but do buy essential drawing materials.
- Try out a range of scales from small (in sketch-books or on small pieces of paper or card) through to large, (A1 or A2or larger).
- Try sometimes to alter the surface of the paper by applying thin washes of tone/colour, using emulsion, powder paint, acrylic or other water based paints, and allow to dry, before working over.
- Be as curious about media as you can and try out a good range of things which are available to you, including dry (pencil, charcoal, pastel, conte), wet (ink, wash, oil pastels) and other media onto these different surfaces. Whenever possible, combine a range of media in the same work.
- Look for ways in which scale and media encourage different kinds of mark and gesture, see how wide a range of marks you can make, and then think about the kinds of subject for which they would be appropriate.
- Think hard about what you are attempting to do in each drawing, and try to explore particular concerns, like surface, texture, line, shape, light and shade, colour, form, movement and so on.
- The figure (either by attending a life drawing class, drawing your own figure or those or people around you.)
- Head/portrait – either of self or others. An imaginative use of angle, lighting and mirrors is valuable, rather than drawing the portrait too symmetrically and from directly in front.
- Still life studies of visually interesting objects collected or already in your environment. These can be studied individually as well as in still life groupings. Look for personal, unusual, challenging subjects and avoid the standard set-up of wine bottles, fruit baskets, and so on.
- Interesting rooms in your own house, garage, greenhouse or other accessible interior spaces.
- Landscape, cityscape and interesting architecture.
- Animals, machinery and things seen in Museums.
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