Thursday, September 30, 2010

9/29 Value Patterns: Four Divisions of Value (cont.)

Wednesday night was a repeat of Monday's project. Similar still life arrangement and same directions.  Travis Gilbert's drawing above exhibits a textural approach to using the eraser while addressing cross-contours and the categories of light.
Alex Andrade's drawing illustrates a broad composition with lots of repeating shapes, specifically the triangular or cone-like, funnel forms. Although there could be more distinction between the local values on the objects, the textural rendering and use of the eraser is very well done.

Tuesday, September 28, 2010

9/27 Value Patterns: Four Divisions of Value

On Monday, students made drawings from a still life on paper they hand-toned to a midpoint value.  The objective was to create a rhythm and movement by observing and separating the values within the design.  Once this was established students rendered the objects more dimensionally by employing gradations.
This drawing by Phillip Boutz exhibits a clarity and a strong sense of light.  This is due to the sparing use of contrasting white forms and black shadows with most of the values falling within the gray tones.
Autumn La Rue has created a striking and dynamic composition by cropping the forms and engaging with all four sides of the picture plane. The tilted and arcing shapes coupled with repeating values maintains an energy that pushes the "eye" from one location to another.
Like Autumn's drawing above, Tyler Martinez has also cropped his composition while adding a very weathered and atmospheric quality to the image.  This is achieved by his textural use with the eraser.   The swooping, angled and arcing forms drop and push the "eye" along the composition similar to the rolling action of a ball inside a pachinko machine.

Friday, September 24, 2010


For this assignment you are to make a drawing of a table setting. Your still life should be the before or after setting of a meal.  Create an asymmetrical composition including plates, glassware, silverware, etc. You may also include cereal boxes or condiment bottles and the like for a stronger narrative and a more dynamic composition.  Use 18 x 24 in. drawing paper and graphite pencils. The above drawings are from students of the Spring 2010 semester.

9/24 Value Patterns and Rendering Light

In the morning the class made value studies exploring the value patterns displayed across folded sheets of paper with holes cut out.  In the afternoon we continued with value studies this time making drawings from a still life of white objects.  The directions were to employ a single directional hatch or scribble technique. Drawings by Adam Harris, Jasmine Gonzales and Nick LaVasser.

Thursday, September 23, 2010

9/22 Value: Emphasizing Light

On Wednesday, the class made value studies emphasizing Light Patterns rather than volume.  In order to emphasize the Light, students used a single directional hatch technique or scribble technique.  The goal was to develop the image through tonal variations rather than line. Drawings by Jeanne Buckens, Leah Erickson, Travis Gilbert and Trevor Finley.

Wednesday, September 22, 2010

9/20 Value Patterns

Monday night the class made drawings addressing the value patterns created from light projected onto folded paper with holes cut out.  First everyone made a six value gray scale; 1 being white, 6 black.  They then tried to locate and develop these values within the still life. These drawings were rendered in graphite pencil. The drawing above is by La Lovan.  Note the juxtaposition of light and dark values  establishes the edges in this drawing rather than using line.

Saturday, September 18, 2010

HOMEWORK #3 Imaginary Face

This homework assignment is a repeat of what was covered in class on 9/13(Monday) and 9/17(Friday).  On 18 x 24 in. drawing paper using charcoal materials and erasers make a drawing of an imaginary face or landscape or abstract design. If drawing a representational image (i.e. face or landscape, etc.) address the subject as though it were observed from multiple viewpoints.  Cover the picture plane with large, open shapes.  Don't get caught up in details.  The primary objective here is to fill the shapes with as many different values and textures as possible.  Refer to the post from 9/17 for two excellent examples.

9/17 (Friday) Imaginary Face and Value Reduction

The morning session began with a slide presentation on the various methods and applications of Value; followed by a brief presentation on some late portraits made by Pablo Picasso.  The project, inspired by the portraits by Picasso, was to divide and cover the picture plane with large open shapes resembling a face seen from multiple viewpoints.  Values and textures were then applied to the shapes using charcoal materials and erasers. Drawings by Jennifer Garcia and Matthias Linford.
In the afternoon, we continued working on value studies.  This next project is called Value Reduction.  All values located in the still life ranging from 1-5 are rendered white, all values 6-10 are rendered black.  The resulting drawing is a flattened, abstract image with a merging of the positive and negative areas. Drawings by Stazi Borissenko, Nancy Rubio and Monica Gomez.

Thursday, September 16, 2010

9/15 Value Reduction

Wednesday evening the class was presented a brief view of various approaches to using ValueValue refers to the various gradations of light and dark.  This is different than black and white because black and white are considered colors and all colors also have a value.  For example, pink is a lighter value of red.  The project was to compose a drawing using only black and white.  Therefore, referring to a value scale of 1 to 10- 1 being white, 10 being black- students had to decide if the local value was a 1-5 or a 6-10.  Values between 1-5 remained white; values of 6-10 were filled in black.  The resulting drawings were very abstract due to the merging of positive and negative areas combined with working with flat, unmodulated tonalities.  Furthermore, the imagery "suggests" forms rather than clearly defining them. The large white shape in the drawing above is a view of a pitcher seen from behind. Note how the shadow on the right side of the pitcher merges with the background. Drawing by Devin Eisert.

Wednesday, September 15, 2010

9/13 Imaginary Face: Subjective Use of Value

Monday evening began with a slide presentation of late works by Pablo Picasso.  The project was to draw a face from imagination that exhibits the features as seen from multiple viewpoints.  In other words, draw the face as if you were walking around the model.  This is loosely based on the Cubist work and concepts developed by Picasso.  Once the face is fragmented into multiple shapes, each shape is then filled with a different value and/or texture.

Saturday, September 11, 2010

9/8 and 9/10 Proportions

On Wednesday Evening and Friday, students worked on proportions.  We started by discussing the Organizational Line Drawing technique based on the work of Alberto Giacometti.  Once accurate proportions were established, students applied the categories of light based on the concepts addressed with the Ideal Solids. This is illustrated in the milk carton drawing by Theresa Vernon.  Note the milk carton is basically a rectangular box with a pyramid on top.

After completing a few studies on newsprint, students made longer more complete drawings again establishing a sense of light, locating the Ideal Solids hidden within the objects and developing a sense of atmosphere and space. Drawings by Chantel Carter, Christina Paoletti, Eduardo Barrera, Gabriel Alvillar, Nancy Rubio, and Trevor Finley.

Wednesday, September 8, 2010

HOMEWORK #2 Composing with Ideal Solids

The second homework assignment is to repeat the in-class assignment of creating a composition using the Ideal Solids. Your drawing should be of a landscape with the suggestion of deep space.  Refer to the class notes on composition and creating depth.  In addition, your drawing and the forms within should exhibit a consist sense of lighting.  This too will add depth and volume to your subjects.  As stated with the in-class project, you must use all the forms.  If desired, you may also repeat one or some of the forms to help with Unity.

9/3 Ideal Solids: Realized and Composed

On Friday the class made studies of standard geometric forms.  In the afternoon, the class placed those forms within a composition.  For more info refer to the posts from 8/30 and 9/1.

Thursday, September 2, 2010

9/1 Composing with Ideal Solids

On Wednesday night we made complete compositions using the geometric forms drawn on Monday night; the Ideal Solids.  The goal was to create a space employing the concepts discussed in the lecture on Composition, specifically atmospheric perspective, proportion, overlap, direction and dominance.  In addition, the forms were rendered three dimensionally by establishing a light source and illustrating the categories of light complemented by good line quality.  Drawing by Jeanne Buckens (in progress).