I used tonal variation to construct the forms for example the intricate shapes of the metalwork on the door and the dark shadow behind this. I used greater detail and darker tones in the foreground than further back (look at the texture inn the wall for example). However, my drawing was rather simple involving a wall in a side street so it was not a large panorama. This meant that there was little scope for the use of aerial perspective to create depth.
Did you preliminary sketches give you enough information for you final pieces of work?
My preliminary sketches gave me quite a lot of information about texture and particular structures. I had separate sketches of the texture of the wall, the ironwork on the door and the Vespa but I think I would have struggled to bring the composition together fully without referring to my photograph.
Would you approach this task differently another time?
My approach to this task was severely limited by depression and anxiety such that I made greater use of photography than I would have liked. I am pleased that I managed to spend some time sketching outdoors and I hope to build on this in the future. So yes, I would approach this differently another time in that, improvement in my mental state permitting, I would do more preliminary sketches on site and rely less heavily on photography.
Have you got that scale of the buildings right? Make notes on what worked and what didn't.
I think the scale is OK on the larger studies completed indoors. (the limited palette study, townscape in line and the Giamei church). However, on the townscape in line the people are much too small in comparison to the buildings even taking into account the fact that there are in the distance across the piazza.
In some of the outdoor studies the buildings are not accurate. In particular this coloured watercolour and pen study of a street in Cerreto.
I really struggled with this one as there was not only the usual problem of perspective on the receding street, but also the fact that the street goes up a steep hill. The third house back almost looks like it is a single storey and the front door looks like it is made for a hobbit. So I definitely had some issues with scale on the buildings in this one.
Have you captured the colour and atmosphere in your studies?
The study of a townscape in line was monochrome. However this was entirely appropriate for the subject as piazza plebiscite is not a colourful place being entirely made of pale coloured stone. In my other studies I have referenced the colours around me. In the limited palette study I have used blue and yellow as accent colours along with the tonal black and white as these reflect the colours of the yellow stone and the sunlight on the steps as well as the reflective blue of the vespa and the Fiat Punto parked outside the house. The other larger study I do think captures how colourful Cerreto is. Although I have done very little blending of colours I think this is quite appropriate because the colours around me were bold and bright and in strong sunlight with a bright blue sky.