Part 5 Research Project 3: A finer focus Uncategorized

Project 3: A finer focus

For this project I used my drawings from project 1 to create another drawing based on the people at the Abbey Road crossing. I haven’t gone into incredibly fine detail for the drawing as I don’t really enjoy the pressure for perfection that tends to come with it, but I went for a bit more detail than I had in my original project 1 sketches.

Extended focus on one drawing tends to make me tire of the subject quite quickly! I could have continued this drawing, building up more faces outwards but I was running out of time. I enjoy getting to the end of a drawing more than the drawing process itself, especially with pencils.

Huw Messie combines textiles and digital techniques to create stop motion animations, in Rhythms of Winding he used “CAD animated machine embroidery” (Messie, 2021, b), so although not sewn by hand there is a meticulous process of designing the patterns and programming the machine. I really like how the frames sewn side by side on the fabric look just like they could have been made by one of the characters in the animation and Messie has provided a GIF of the template which shows just how much more effective the work is in its final sewn form than as a digital drawing (Messie, 2021, b).

The meticulous detail in M.C. Escher’s Phosphorescent Sea has a calming effect, while the first thing that tends to come to mind with detailed drawings is the painstaking process, Escher’s marks have such a soothing effect that it feels as though I could walk into the waves. I think sometimes hyperrealism can be distracting and cold, in this drawing Escher found a balance between high detail and communicating his love of the sea and the wonder of bioluminescent algae (Nadjézjda Hak, 2021) – it’s poetic rather than robotic. It’s difficult to figure out why this is the case, but it may be to do with how he has simplified the textures. The sand is the same texture as the sky, the waves closest to the shore resemble fabric; there’s detail but not unnecessary amounts of it.

Stephen Walter’s woodland drawings feel very suffocating and sickly, it’s not so much the detail which creates this but the pattern repetition and weird sense of depth to the drawings. Woodland Manifold leads the eye in to the woodland, but then pushes it back out and there is no path through the drawing. Ivan Shishkin’s woodland drawings are very detailed, but even in a scene such as Cobwebs in the Forest, where trees eventually block the view, there is a sense that you could continue to walk through them. Looking into the distance of Woodland Manifold, it becomes impossible to distinguish trees, leaves and space, creating a wall that the eye can’t travel past. High levels of detail communicate an sense of obsession, I think in Shishkin’s work it shows his obsession with the forest and the time he would spend sitting in it trying to capture every inch (Savinov et al., 1981); whereas with Walter’s work I think it is less about a specific woodland and more about communicating a sense of impending doom – in Rewilding 1 the landscape appears so diseased it no longer resembles a landscape at all.


Messie, H., 2021 b. Frank-Ratchye Studio for Creative Inquiry Microgrant. HUW MESSIE. Available at: 

Messie, H., 2021 a. Rhythms of winding. HUW MESSIE. Available at: 

Nadjézjda Hak, D., 2021. Yearning for the sea. Escher in Het Paleis. Available at: 

Savinov, A., Federov-Davydov, A. & Shuvalova, I., 1981. Shishkin, London: Pan Books. 

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