Category Archives: Part 4

What “experience” is James Turrell trying to create and what specific techniques is he using in his designs?

Can you describe them and propose ideas of how and why they might be effective at engaging the viewer?

Can you draw any comparisons to James Turrell’s work and a design visual of an interior design?

Using your learning log, along with pictures of James Turrell’s work, discuss these ideas and reflect on how you might incorporate these ideas in your visuals. Keep the post to a minimum of 200 words.

James Turrell is an American artist who trained as psychologist and is an avid pilot. He was born in 1943 and created many light installations or other works of art and architecture that use light and empty space as medium. He often gets his inspiration from the feeling of space and light while he is in the air, piloting a plane. His artworks are spread around the world and since 1977 he has been involved in the ongoing creation of Roden Crater – a large scale artwork – a fruit of his lifelong research into visual and psychological perception. He is in the process of creating a unique destination, occupying a dormant volcano crater in the middle of Arizona Dessert.

In my opinion through his designs he is trying to make people being in thought, to contemplate, to consider the environment around them. He wants people to stop and look, just look, perceive, and feel, perhaps feel surprised while they see a lit space that may appear to be in a different dimension than it actually is. An example of this could be a frameless opening in the roof (Fig. 1), that looks almost like a picture (and at night a dark rectangle contrasting with the lit room – Fig. 2); or light shining on a corner in such a way that it looks like a 3D object that shares the same corner and at the same time like a flat object whose front hides the corner (Fig. 3).

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His artwork engages the viewer through contrast between light and shade (or darkness) and through perception that is different to reality.

Interior design visuals where outside is brought inside use similar techniques to some of James Turrell’s work. These visuals would have large windows with beautiful scenery, landscape or urban visible and being a focal point of the interior (Fig. 4).

Visuals with skylights showing the sky especially on a beautiful day (Fig. 5) use similar technique to J. Turrell’s too. I think these features make user stop and contemplate and hopefully feel happy.

Other visuals especially hand drawn can incorporate the contrast of light and shade by highlighting the light from lamp or window in a light or yellow colour (or perhaps even in a different colour). (Fig. 6)

If I was designing a space with a beautiful outside, I would try and incorporate it within a design, try to bring it inside in my visuals, make it a feature. Also, when sketching I could incorporate light patterns cast by daylight or lamps (similar to my drawings in perspective exercise 3.3 where I tried to capture shade cast by the shutters).

Some interiors designs feature led strips along edges of dropped parts of the ceiling or above it (Fig. 7) or under steps.

I am not a fan of the lights highlighting the ceiling in that way but perhaps lighting whole wall or just artwork on it may be a good idea. It would all of course depend on the interior and the clients wants and needs too. On the other hand James Turrell created something similar to what in theory I’m not a fan of – I’m talking about his Inner Way piece (Fig. 8) It has strips of light by the ceiling but I think it’s brilliant. It only shows that you (or a client) need to see something to be convinced – right visuals highlighting the right features are so important.

In commercial or public spaces using light to highlight architectural or other features adds sense of grandeur (Fig. 9).

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Sun tunnels bring daylight into an otherwise dark space (Fig. 10 ) in a similar way to James Turrell’s light veils (Fig. 11) providing natural, bright and dispersed light. With the difference that light veil include both natural and artificial light. In both instances the user cannot see the light source. I stayed in house that had a light tunnel and I remember the surprise I felt every time I entered the room. The amount and the quality of light was astonishing.

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The bottom line is – we need light in our interiors, preferably different sources at different brightness and concentration but light is needed for human (and other creatures) survival and wellbeing.

Reflection on the task:

As usual with contextual studies the hardest thing was to get started. I read about James Turrell and his work on the internet and then needed a couple of days to dwell and get the information in order. Then I sat down and noted most of the facts from my head. So in the end I enjoyed it, I just worried about what to include unnecessarily.

I learnt from this exercise that light plays vital role in the interior design, particularly how natural light enters and travels through the space, but also design and placement of artificial lights have tremendous impact on the atmosphere and usability of the space as well as on the experience of the space. Light also facilitates sense of movement in a space as seen in Fig. 9. Moire pattern visible there along with vivid colour sheer sheets intersected with lights and rounded, repeated shapes create movement. Without light the effect would be rather flat.

List of illustrations:

Fig. 1 Nakamichi, A (2004) Blue Planet Sky (daytime) [Photograph] At: http://jamesturrell.com/wp-content/uploads/2013/05/blue_planet_sky_2004_11-1440×1819.jpg (Accessed 09.06.2020)

Fig. 2 Nakamichi, A (2004) Blue Planet Sky (at night) [Photograph] At: http://jamesturrell.com/wp-content/uploads/2013/05/blue_planet_sky_2004_71-1440×1819.jpg (Accessed 09.06.2020)

Fig. 3 James Turrell Studio (1970) Raethro II Peach [Photograph] At: http://jamesturrell.com/wp-content/uploads/2015/11/MattressFactory_RaethroII1.jpg (Accessed 09.06.2020)

Fig. 4 Decoist (no date) Modern kitchen overlooking the ocean as it flows into the timber deck outside [Photograph] At: https://cdn.decoist.com/wp-content/uploads/2016/03/Modern-kitchen-overlooking-the-ocean-as-it-flows-into-the-timber-deck-outside.jpg (Accessed 09.06.2020)

Fig. 5 Decoist (2015) Fabulous contemporary dining room offers a stunning window to the sky! [Photograph] At: https://cdn.decoist.com/wp-content/uploads/2015/01/Fabulous-contemporary-dining-room-offers-a-stunning-window-to-the-sky.jpg (Accessed 09.06.2020)

Fig. 6 Partida, E (2014) Visual 1 / Panoramic View [Drawing by hand] At: http://degreeshow.mmu.ac.uk/2014/images/w/3033.jpg (Accessed 09.06.2020)

Fig. 7 Bright stores (no date) Kitchen LED strips [Photograph] At: http://www.integral-led.com/sites/default/files/styles/fc_image/public/Kitchen%20LED%20Strip.PNG?itok=CUdhj0MG (Accessed 09.06.2020)

Fig. 8 Holzherr, F (1999) The Inner Way [Photograph] At: http://jamesturrell.com/wp-content/uploads/2013/03/neg.1_2_0011.jpg (Accessed 09.06.2020)

Fig. 9 Hu, Y (2017) Gallery of Metal Rainbow-Zhongshu Bookstore in Suzhou / Wutopia Lab – 1 [Photograph] At: https://images.adsttc.com/media/images/5995/1f2f/b22e/38e2/cc00/02f8/slideshow/28__%E5%A4%A7%E5%8E%85_%E8%83%A1%E4%B9%89%E6%9D%B0_(13).jpg?1502945065 (Accessed 09.06.2020]

Fig. 10 The Skylight Company (no date) Sun Tunnel [Photograph] At: https://www.theskylightcompany.co.uk/acatalog/sun-tunnel–guide.png (Accessed 09.06.2020)

Fig. 11 James Turrell Studio (1974) Virga [Photograph] At: http://jamesturrell.com/wp-content/uploads/2015/11/Panza_Virga1.jpg (Accessed 09.06.2020)

References:

Enrico (2010) James Turrell: Skyspace Piz Uter At: https://vernissage.tv/2010/01/22/james-turrell-skyspace-piz-uter/ (Accessed 06.06.2020)

James Turrell (2020) Work (Type) At: http://jamesturrell.com/ (Accessed 06.06.2020)

Skystone Foundation (2020) Roden Crater At: http://rodencrater.com/  (Accessed 06.06.2020)

Stott, R (2012) Deer Shelter At: https://www.geograph.org.uk/photo/3472776 (accessed 03.06.2020)

Swenson, E (2016) James Turrell : Shards Of Color At: https://vimeo.com/162470928 (Accessed 06.06.2020)

I selected Epsom Downs Racecourse as my space for this exercise due to restricted access to alternative sites due to Covid19. I selected this space because it is an open space and a popular walking, running etc spot so I knew I will see movement there.

I sat down on the ground and observed people passing by and drew Fig. 1 and Fig. 2. I used an automatic pencil and coloured pencils. The day was quite cold and windy, so I didn’t hang out there for much longer, just took a few photos in case I needed to refer to them I at home.

The drawing in Fig. 3 shows outside space. I drawn it with pencil and used it as a base for all Epsom Downs Movement drawings. My final drawing is drawn over Fig. 3 drawing.

After I drew the space, I realised I have no idea how to draw people, leave alone people moving. So Fig. 4 – 7 show my practice, trying different techniques etc.

Fig. 8 – Fig. 9 are all drawn on tracing paper. I copied the landscape from Fig. 3 to speed up the process, and for clearer comparison of my movement on each.

Fig. 8 is drawn on the tracing paper with soft pencil, coloured pencil and pink fine liner (dogs tail). I think it shows the energy well, but I would prefer the colours to be more vibrant.

In Fig. 9 I added the cyclist using soft pencil and coloured pencil.

Fig. 10 was completed using fine liners and a sharpie. I thought It shows energy well, but I was not able to use gradient colours with this technique. The vibrant colours are great.

In Fig. 11 I drew scenery and people in fine liners and a sharpie. Then I tried to capture movement using soft pastels. I do not think I captured movement well here, a bit too washed out.

So I added patterns using coloured pencils (Fig. 12). A bit better but not quite. Now I think the trails are too long, they sort of miss the point, at the time I had no opinion yet.

Like in previous ‘Epsom Downs Movement’ drawing I first drew landscape and people using fine liners and a sharpie (Fig. 13)

Then I added movement with fine liners, coloured pencils, and soft pastels (in that order) – Fig. 14. I think it has good energy and movement of people in space but it doesn’t really show hair, hands or legs movement (apart from dogs tail).

I decided to try capture both movement is space and movement of body parts. So I took softest pencil I have (10B) and started drawing, smudging and evaluating the effect.

Fig. 15 Shows my first go at detailed cyclist. I wasn’t pleased with that.

Fig. 16 is another go at cyclist, I still struggled to capture movement of the legs and wheels.

3^rd time lucky. I used precision rubber on the wheels. I also thought that stripy gradient pattern shows movement is space better (Fig. 19). At this point I knew I will have to draw these people in soft pencil, smudge and erase bits to show movement patterns.

Fig. 20 shows my first go at the walker, I was not happy with this.

Fig. 21 is another go at the walker. This time the shading and grading is a bit better, showing arms and legs moving.

I then added some shading at the back to show direction of the movement (Fig. 22)

Fig. 23 and 24 show the runner and development. If you zoom in, you should see ponytail bobbing (I hope I got this right). I was not quite happy with the shades I got, I thought they were a bit too sharp.

I created Runner 2 in Fig 25 using same technique but blended a bit better and added graded stripes at the back to show the movement in space.

Dog walker was quite hard (Fig. 26 and 27). I was not sure how to show a person who just stopped walking and is looking down at a dog. I hope this captures it. I cannot make up my mind whether this version or one in Fig. 9 is better.

I did not realise dogs are so difficult to draw. I think my first one looked like a small horse. Never mind the body though, I think I captured the movement well, especially the tail wagging (Fig. 28 and 29).

After I practiced all people and the dog, I was ready to create my final drawing. I created the landscape using soft pastels over my pencil drawing as in Fig. 3. I wanted to add some colour to the drawing (Fig. 30).

Then I added the people and the dog with a soft pencil (Fig. 31)

After that I smudged and erased to make some areas of movement darker and lighter to capture the movement. I used my finger for general, and cotton bud for ‘precision’ smudging.

Reflection on the task:

It was difficult, my people drawing skills are very rusty. Nevertheless, I really enjoyed creating each drawing, I like to get stuck in and draw. As predicted the contextual study about movement was coming back to my mind. Just smudging is not enough, you need pattern. Pattern is great for conveying the energy of movement but needs grading to give it direction. Movement capture needs a bit of contrast (my dark is smudged, but lighter bits are small and sharp).

Can you find 5 other examples of interior design that appear to capture movement in their designs?

Add images to your learning log with analysis of the space, including what methods have been used. Eg. form, lines, texture, lighting etc.

1. Galleria Centercity in Cheonan, South Korea designed by UN Studio

The space is a department store, with a food court, an art and cultural centre and roof terrace, so an all in one place to shop, eat and socialise. Fig. 1 shows interior from the entrance looking up. The user entering the space will be enticed to look up by the repetition of pattern on each visible ceiling (edges, lights and what I’m guessing are grooves). The design is repeated but slightly differently on the top panel unit hung just below the ceiling where through curved gaps light seeps down. The platforms look a bit angled, as if not quite level, the interior was designed with an upward exploration in mind. The interior is tall and light with very limited colour palette but by no means boring. The glass balustrades make the space feel more open, at the same time I can imagine they invite to come closer and have a look.

Fig. 2 shows same interior (as Fig. 1) but seen from opposite perspective. Somehow looking down does not seem as exciting as looking up. The patterns are not visible. We can still see shape of the platforms but without the light enhancing them they do not seem as inviting. The opening of the plateaus into the void aid orientation within the space. I think the voids presence and patterns cast by sunlight capture the movement best in this view. We can see repetition of shapes which are identical on each level on the left-hand side and pattern cast by the ceiling panel onto the shiny floors below, filtering the sunlight through, these patterns will move as the day goes by.

The façade of the building is clad with two layers of vertical mullions which create a moiré pattern effect (Fig. 3). As the viewers position changes so does the pattern on the façade. The architect incorporated visible movement even if it is only optical illusion. The cladding also works as light openings and light shades, it cleverly lets the light in through openings but not too much, which is good for preserving energy on lighting and cooling the space.

UNStudio designed dynamic lighting effects and animations to be displayed on the façade of the building at night (Fig. 4). This is facilitated by 22000 LED lights installed in the façade.  So even after the sunset the movement is still visible on the façade.

2. Bienville House in New Orleans, USA designed by Nathan Fell Architecture

Fig. 5 shows open plan kitchen/ dining / living room. The interior space has sliding doors in place of two walls, so it fully opens to the swimming pool and outdoor decking. There’s multitude of materials visible, concrete floor tiles, concrete wall cladding, wooden deck and kitchen are made of different types of wood, outside cladding turning inwards and covering the internal ceiling of this space. glass sliding doors framed in black metal, black metal fans hanging from the ceiling. I think the movement in this space is visible in the linearity of materials. They are arranged very straight but at different patterns. The most movement is visible in the ceiling lights: straight, long, narrow, they really stand out against the anthracite ceiling. Their form reminds me of passing lights at night, at high speed; that is what dotted lights in movement would appear like.

Fig.6 shows same space as fig. 5 but in different perspective. We can see the structure of the wood on furniture units. In my opinion the organic patterns of the wood grain have a certain ‘flowy’ sense. of movement. We can also see floor finish in a closer view and the black window profile as a border between inside and outside. I can imagine the fans, moving air will give a very physical sense of movement, not only visual, one could feel the air on their skin. This combined with the ceiling lights will add to the feeling of movement of this room.  I must also mention the chairs next to kitchen island, their vibrant colours make them pop out and it seems as if angled legs might start walking any minute.

3. Opium Pop Up Store (The Flip Flop) at Mumbai Airport, India designed by Renesa Studio. The project is called The Flip Flop because of an ingenious display technique, where the singular shelves on the walls can be flipped open.

This design really captured movement. In Fig. 7 we can see it in repetition of black grid on the floor and walls, arched doorways which look like they have been copied and pasted along with the interior (also this shape is repeated in the floorplan), and fluorescent green display units for sunglasses. The ceiling is painted black with a square grid just below, upon which spotlights are placed. The movement is captured by repetition of pattern and contrast of black, white and fluorescent green.

In Fig. 8 the same space is viewed from a slightly different perspective. Here we notice black framed mirrored in hour-glass shape that can be swivelled. I also noticed a sales counter that repeats the shape of doorways and the floor plan. The design looks sharp because of very limited colour palette and only 3 shapes are repeated in a very bold manner.

In the image above (Fig. 9) the movement is captured in the curvature of the wall, emphasized by its contrast to the straightness of the floor. The black gaps on the curve seem to flow towards the lens.

In the photograph above (Fig. 10) it seems that the interior is moving, while the viewer is stationary. As on previous images we can appreciate the strictness of the design and the grid size implemented, as well as perfect execution. Here we can also see how the interior relates to the space outside, and interesting patterned ceiling outside. Outside looks almost like it is in another dimension.

4. Polet Restaurant in Moscow, Russia designed by Asthetique – this project won Platinum A’Design Award 2020.

In the space above (Fig. 11) the movement has been captured by the use of interesting light fittings in a form or coloured, translucent circles hung at different angles (they seem to be captured half-swing, although I’m sure that isn’t the case), the row of copper lampshades over the counter, three tall and narrow fittings with tube bulbs (across the room)and of course the lit from below airplanes installed on the cement column. The shiny surfaces on the left-hand side and stainless-steel cladding on the column contrast with cement and wood on the floor, and along with the play of daylight across the floor they add to the sense of movement. The ceiling in this high space was left exposed showing all the systems just below.

In the photo above (Fig. 12) we can see cement wall that has carved-in artwork depicting planes next to some abstract parts, it has clean looking edges, and it really attracted my attention, Also here we can appreciate the grand size of the room emphasized by the lights; massive windows with floor to ceiling curtains; white, vertically striped panel past the column and aforementioned carving. I also appreciate the limited colour pallete of copper, blush pink, black, beige, grey and wood. There are multiple textures visible that I think improves the cosiness of this place; rough and geometrically shaped concrete walls and smooth concrete tables, warm wood floors, shiny and smooth metal and glass surfaces and soft and plush seats on copper frames.

In Fig. 13 we can see same space but from yet slightly different perspective. Here we can see how the shades of glass in circular light fitting and glass screen above the counter add to the movement capture. They’re both in pink-coppery-brown shade. The lit-up lines across the circles add interest and contrast with black lines around the glass screens. I can also see the finish of stainless steel better, it is mirror smooth and shiny, it reflects objects nearby. Those reflections are deformed and would move as we move. The strip of spotlights behind the glass screen looks milky-blurred and attracts attention. The visitors can also see into the kitchen which is finished in white tiles with dark grouting, stainless steel, and black accents.

5. Rooftop Office in Dudelange, Luxembourg designed by Dagli+ Atelier d’Architecture. This Office is a showroom extension to HQ of local building engineering firm.

The above 3 images (Fig. 14, 15 and 16) show that interior design does not have to be complicated, busy or ornamental to capture movement. The interior has white walls and ceilings, grey carpeted floor but somehow there is a flow to it. Its secret lies within the grey gradient stripes that either run parallel (staircase in fig. 14 and 16) or meet at a very sharp point (Fig.15).  I selected this space when I saw the photo as seen in Fig. 15. I thought that is movement captured, before I read anything about this project. The only other element that adds to the movement would be the light fittings, long bright lines – they seem to be showing the direction of the movement.

Reflection on the task:

That was something really abstract to research (again). I thought ‘how can you capture movement in something still?’. I really enjoyed researching, looking at the photos and contemplating how was the movement captured. I am expecting, that once again (like with lines) I will become obsessed with the idea of movement in design and start noticing it everywhere. I am looking forward to it.

References:

Abdel, H. (2019) ‘The Flip Flop / Renesa Architecture Design Interiors Studio’ At: https://www.archdaily.com/936905/the-flip-flop-renesa-architecture-design-interiors (Accessed 11/05/2020)

A Design Award Competition (2019) ‘Polyot Restaurant by Julien Albertini and Alina Pimkina’ At: https://competition.adesignaward.com/design.php?ID=93228&utm_medium=website&utm_source=archdaily.com (Accessed 11/05/2020)

Asthetique Group (2019) ‘Polet Restaurant’ At: https://www.asthetique.com/polet (Accessed 11/05/2020)

Archilovers (2011) ‘Galleria Centercity’At: https://www.archilovers.com/projects/46055/galleria-centercity.html#info (Accessed 09/05/2020)

Cilento, K. (2011) ‘Galleria Centercity / UNStudio’ At: https://www.archdaily.com/125125/galleria-centercity-unstudio (Accessed 09/05/2020)

Corvese, A. (2010) ‘Principles of Good Design: Movement’At: http://harmonyandhome.blogspot.com/2010/01/principles-of-good-design-movement.html (Accessed 09/05/2020)

Ephgrave, O (2011) ‘Dynamic media facade lights up South Korea’ At: https://www.middleeastarchitect.com/insight/dynamic-media-facade-lights-south-korea (Accessed 10/05/2020)

Etherington, R (2011) ‘Galleria Centercity by UNStudio’ At: https://www.dezeen.com/2011/03/28/galleria-centercity-by-unstudio/ (Accessed 10/05/2020)

Etherington, R (2010) ‘Rooftop Office by Dagli+ Atelier d’Architecture’ At: https://www.dezeen.com/2010/12/07/rooftop-office-by-dagli-atelier-darchitecture/ (Accessed 12/05/2020)

Licht, F (2011) ‘Galleria Centercity, Cheonan, Korea_720p.mp4’ At: https://youtu.be/-1uiykihsZE (Accessed 09/05/2020)

Nathan Fell Architecture (2019) ‘Bienville House’ At: https://www.nathanfellarchitecture.com/bienville-house (Accessed 10/05/2020)

Pintos, P. (2019) ‘Bienville House / Nathan Fell Architecture’ At: https://www.archdaily.com/930471/new-orleans-duplex-nathan-fell-architecture?ad_source=search&ad_medium=search_result_all (Accessed 10/05/2020)

UNStudio (no date) ‘ Galleria Centercity’ At: https://www.unstudio.com/en/page/12104/galleria-centercity (Accessed 10/05/2020)

List of illustrations:

Fig. 1 Richters, C. (2010) Gallery of Galleria Centercity / UNStudio – 7. [Photograph] At: https://images.adsttc.com/media/images/55e8/993e/46fe/9f1d/fb00/009d/slideshow/03_christian-richters_4172-064.jpg?1441306915 (Accessed 09/05/2020)

Fig. 2 Richters, C. (2011) Gallery of Galleria Centercity / UNStudio – 12. [Photograph] At: https://images.adsttc.com/media/images/55e8/98c0/46fe/9f1d/fb00/0098/slideshow/04_christian-richters_4172-057.jpg?1441306789 (Accessed 09/05/2020)

Fig. 3 Richters, C. (2011) dzn_Galleria-Centercity-by-UNStudio_2. [Photograph] At: https://static.dezeen.com/uploads/2011/03/dzn_Galleria-Centercity-by-UNStudio_2.jpg (Accessed 10/05/2020)

Fig. 4 Yong-kwan, K. (2011) dzn_Galleria-Centercity-by-UNStudio_9. [Photograph] At: https://static.dezeen.com/uploads/2011/03/dzn_Galleria-Centercity-by-UNStudio_9.jpg (Accessed 10/05/2020)

Fig. 5 Nathan Fell Architecture (2019) 07-Rear+Unit-1st+Floor. [Photograph] At: https://aggievideoblog.files.wordpress.com/2020/05/6d1ab-07-rearunit-1stfloor.jpg (Accessed 10/05/2020)

Fig. 6 Nathan Fell Architecture (2019) 05-Rear+Unit-1st+Floor. [Photograph] At: https://aggievideoblog.files.wordpress.com/2020/05/59e5b-05-rearunit-1stfloor.jpg (Accessed 10/05/2020)

Fig. 7 Gupta, N. (2020) Image 1 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio.  [Photograph] At: https://images.adsttc.com/media/images/5e86/e3ec/b357/659c/1800/0081/slideshow/1.jpg?1585898419 (Accessed 11/05/2020)

Fig. 8 Gupta, N. (2020) Image 12 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio.[Photograph] At: https://images.adsttc.com/media/images/5e86/f5a6/b357/6512/c600/0100/slideshow/32.jpg?1585902905 (Accessed 11/05/2020)

Fig. 9 Gupta, N. (2020) Image 16 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio. ]Photograph] At: https://images.adsttc.com/media/images/5e86/f64c/b357/6512/c600/0101/slideshow/34.jpg?1585903114 (Accessed 11/05/2020)

Fig. 10 Gupta, N. (2020) Image 5 of 55 from gallery of The Flip Flop / Renesa Architecture Design Interiors Studio. [Photograph] At: https://images.adsttc.com/media/images/5e86/f855/b357/659c/1800/009f/slideshow/35.jpg?1585903554 (Accessed 11/05/2020)

Fig. 11 Asthetique Group (2019) No title 1. [Photograph] At: https://aggievideoblog.files.wordpress.com/2020/05/6dc14-6.jpg (Accessed 11/05/2020)

Fig.12 Asthetique Group (2019) No title 2. [Photograph] At: https://aggievideoblog.files.wordpress.com/2020/05/f7fe9-8.jpg (Accessed 12/05/2020)

Fig. 13 Asthetique Group (2019) No title 3. [Photograph] At: https://aggievideoblog.files.wordpress.com/2020/05/09257-7.jpg (Accessed 12/05/2020)

Fig. 14 Hempel, J (2010) 8.-im11-3-1024×867 [Photograph] At: http://dagli.lu/wp-content/uploads/8.-im11-3-1024×867.jpg (Accessed 12/05/2020)

Fig. 15 Hempel, J (2010) 7.-im10-3-1024×769 [Photograph] At: http://dagli.lu/wp-content/uploads/7.-im10-3-1024×769.jpg (Accessed 12/05/2020)

Fig. 16 Hempel, J (2010) 9.-im12-3-1024×688 [Photograph] At: http://dagli.lu/wp-content/uploads/9.-im12-3-1024×688.jpg (Accessed 12/05/2020)

I arranged a small notebook resting on a Bluetooth speaker.

Continuous line (Fig. 1). I learnt that drawing a straight freehand line is difficult

From memory – drawing with eyes closed (Fig. 2). The result is unsurprisingly not similar to original objects. I bravely attempted to draw a pattern of holes on top of the speaker.

Blind drawing – looking at objects not at paper (Fig. 3)

Negative spaces. Fig. 4 was my first attempt. Then I thought that perhaps I shouldn’t have drawn outlines of my objects, so I completed Fig. 5, Fig. 6 and Fig. 7 (in that order)

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Tonal (Fig. 8) – by far this one is my favourite. It best shows the shape and relationship between the objects.