Friday, December 16, 2011

THURS. 12/15 Combined Viewpoints Part Two cont.

Students continued working on their final projects.  All work must be finished and ready to critique for the final evaluation on Dec. 22 at 1 pm. Pics will follow.

Wednesday, December 14, 2011

TUES. 12/13 Combined Viewpoints Part 2

Magalli Larque
Students began work on the second part of the final project; transferring the sketched images onto drawing paper. Typically, these drawings exhibit strong motif and rhythmical qualities and Magalli's drawing above is no exception. Note the fluid ribbon-like form that weaves in and around the other forms leading the "eye" through the composition.  Furthermore, many elements are repeated across the image to aid in the "Directional" principles.

Friday, December 9, 2011

THURS. 12/8 Combined Viewpoints

Students began work on the final project- "Combined Viewpoints".  This is a two part project beginning with a series of contour sketches on tracing paper.  The sketches are then assembled into a uniform image and redrawn onto large paper.  The project is inspired by "chance" and the "automatic" drawings exercised by the Dadaists and the Surrealists of the early 20th century. Progress pics to follow.

Tuesday, December 6, 2011

TUES. 12/6 Division of Field

Bridget MacCallum
Students finished "D of F" drawings and we critiqued them.  On the whole a job well done. Bridget's drawing above skillfully illustrates the objectives of the project. First, she has directed our attention with the placement of the garbage can and the tiles leading to it. Secondly, her rendering of an otherwise "uninteresting" location is dynamic and original. One of the objectives of the project was to explore the way in which the "viewer" would experience the space.  The steep angles of the walls and floor have created an environment where the floor comes to us rather than us walking across it.

Sunday, December 4, 2011


The work listed below must be presented in a portfolio (cardboard or tote style). Work MUST be presented in a professional manner (i.e. no tears, folds or rolled drawings).  Drawings must be spray fixed. Portfolios that are poorly organized will be down graded or rejected.
1. Ideal Solids (composition only)
2. Subjective Value (abstract face)
3. Value Patterns (paper cut-outs)
4. Value Reduction (black/white)
5. Modeling (bottle, cup, etc.)
6. Rendering Light (single directional hatch or scribble)
7. Perspective (imaginary space and blocks)
8. Midterm Drawing
9. Ink (flattening the picture plane)
10. Texture ( jungle)
11. Large Color
12. Portraits (self and classmate)
13. Division of Field (finished drawing)

14. All homework (8 total)
Sketch books will be reviewed in class. Do not tear out pages.
15 DHR

THURS. 12/1 Division of Field

Jeff Box
Students began work on large scale drawings from their sketches. The drawing above is a progress shot. The composition illustrates the left to right balance with the weight in the composition located on the right.

Wednesday, November 30, 2011

TUES. 11/29 Division of the Field

Joseph Easterbrook
We began studying Spatial Relationships. After reviewing slides and discussing nine possible divisions of the field, we made sketches of various locations around and within the Art building.  Note in the sketch above one of the nine strategies in the lower right corner. These sketches will be expanded into larger scale drawings.

Wednesday, November 23, 2011


Bring sketchbooks to class next Tuesday, Nov. 29.

HOMEWORK #8 Self-Portrait

Make a self-portrait in your medium of choice on 18 x 24 in. paper. Try to be more conceptual with this drawing rather than making a traditional portrait.  Use props or place yourself in a space, etc. The drawing above is a commentary on "Aging." It is a play on "Mirror, Mirror, on the wall . . ." The real strength of the drawing conceptually speaking is not in the portrait but rather in the bandaged hand holding the mirror.  Very evocative drawing.

TUES. 11/22 Self-Portraits

We began with a planar analysis of the face.  Planes are important because 1. they reveal the structure of form and 2. they establish how and where values will be applied. The process for a planar drawing is to flatten all curved edges into straight lines.  Imagine what a face would look like if you constructed it out of pieces of cardboard or wood.  All the planes should be isolated like a puzzle.
Christiane Belle

Leah Leahy
After the warm-up students made drawings using their medium of choice. Although Christiane's drawing is unfinished, it is conceptually interesting.  It appears to be part of a series based on "See No Evil, etc." Leah's drawing like Christiane's fills the page well and exhibits a strong sense of volume.

Friday, November 18, 2011

THURS. 11/17 Portraits

Ashley Hurd

Saroeuth Chhoeung
Students made portrait drawings of each other. We discussed the proportions of the head and made studies from skulls to start. Ashley has drawn a dynamic and exciting image by using fluid lines and rich values.  Note the volume achieved by addressing the skull structure under the skin.  Saroeuth's drawing is equally powerful in mood and emotion.  His use of additive and reductive techniques captures of the volumes of the face while adding textural variety.


Govinda Taskey

Zoe Brester-Pennings
This is a repeat of the in-class drawing.  Arrange a grouping of objects and make a drawing using a color scheme that complements the subjects in mood and/or function.  Pay attention to composition, negative space and eye level. Your drawing must include drawn objects from observation but you may add elements from your imagination as well. Paper size 12x15in.
The two drawings above exhibit strong compositions with  great use of color. Govinda's drawing is rich with textural variety and vivid, brilliant colors.  Zoe's drawing drawing has an excellent rhythm produced by the meandering green toothepaste while employing atmospheric perspective to add a sense of depth.

Tuesday, November 15, 2011


Students continued working on large scale color drawings.  Pics to follow.  Next class we start portraits.

Sunday, November 13, 2011

THURS. 11/10 COLOR: Large Scale Still Life

Govinda Taskey
Students began work on personal, large scale still life on black paper.  These drawings are a combination of objects from observation as well as imagination. This is a two-day project to be completed this coming Tuesday. The drawing above is in progress.

HOMEWORK #6 Texture Study

Old Sponge

Weathered Cardboard
In a 4 x 5 in. format, in your sketchbook, using graphite pencils draw a continuous field composition of a texture from observation. This is essentially an investigation of value.  Textures are in essence a series of light and dark values. Your image should only exhibit the texture.  There should be no horizon line and no edges to the shape of the thing the texture is on.

Tuesday, November 8, 2011


Chelsea Shiery

Valentin Mendoza
Today we made single subject studies using colored pencils.  I spoke briefly about color schemes and the characteristics of color and colored pencils in particular.  Thursday we will start a two-day project using color.  Bring some small colored objects to draw.

Thursday, November 3, 2011

THURS. 11/3 "The Jungle" continued

Students continued working on Tuesday's project today.  We will critique these drawings first thing next Tuesday before moving onto color.

Next week have colored pencils (black, white, red, blue, yellow) and two sheets of black drawing paper approx. 18 x 24 in.

Tuesday, November 1, 2011

TUES. 11/1 TEXTURE: "The Jungle"

Bikesh Maharjan: drawing in progress
Students began work on "The Jungle" project: value and texture drawings in charcoal.  The process is one that is more organic and intuitive compared to previous projects.  Rather than setting up a still life, students select objects and use them as reference for creating their compositions. The method is to start with a dominant form and then place supporting forms repeated around the composition.  Rhythm and Movement is established through repetition and similarity of values, textures and forms.

Friday, October 28, 2011

HOMEWORK #5: Still Life in Ink

Kate Picchi

Elaine Gutsch
Draw a still life of at least three small objects using ink in 12 x 15 in. drawing paper.  Employ cross-hatching, stippling and/or a combination of techniques. Pay attention to composition, negative space and eye level.  Kate's drawing above is rich with textural variety while Elaine's drawing dynamically encloses the negative areas into large and small triangles leading the "eye" on a zig-zag path.

THURS. 10/ 27 INK: Flattening the Picture Plane

Ashley Hurd

Valentin Mendoza
The objective of this project was to draw attention to the surface of the picture plane by creating a flattened sense of space. Ashley's drawing above perfectly illustrates the process of creating atmosphere with broad, sweeping brush strokes combined with drips and splatters with diluted ink washes. Then she developed the forms with line work. And finally adding solidity to the forms with white ink washes. Valentin's drawing exhibits great use of materials as well.  The medium of ink and washes is a perfect match for illustrating the wet and slimy textures of fish and water. Look closely at the delicate gradations he's achieved on the back's of the fish and lure.

Tuesday, October 25, 2011

TUES. 10/25 India Ink

Students explored mark-making possibilities by way of the Dada/ Surrealist game "The Exquisite Corpse".  About the game: 3 participants, first person draws the head, second person torso, third legs and feet. Students were introduced to the techniques of hatching, stippling, patterning and combining the techniques all using pen and ink.

Next class, bring three to five personal, hand-held items for a still life of your own.

Friday, October 21, 2011


Cullen Houser

Abigail Sanchez

Oscar Mendoza
For the midterm drawing, students had to address the concepts covered to date: composition, line quality, value and proportions. Here are three examples of the many excellent drawings.
With his use of line and tone, Cullen has beautifully captured the light and shadow patterns as well as the fragility of the broken ceramics. Also take note of the balance between positive and negative areas.
Abigail has taken a beautifully minimal approach to the still life.  Note her use of value patterns in the shadows to establish rhythm. The key to the success of her vignetted composition lies within the centered placement with plenty of negative area allowing the eye to breath and encircle the still life.
Oscar's drawing also has a strong sense of design and rhythm.  Note the similarity in the wavy pattern on the mug (left) and the reflections in the lid (right). The criss-crossing triangles on the paper perfectly contrast the curvilinear nature of the ceramic forms.

Wednesday, October 19, 2011

TUES. 10/18 Midterm Drawing

Students began work on their Midterm Drawing Project.  Students will have at least an hour on Thurs. to put the finishing touches on these drawings before the critique. Pics will follow.

Remember to have ink materials for next week: India Ink, pen and nibs, brushes,sticks, stamping materials and any other mark-making tool.

Friday, October 14, 2011

THURS. 10/13 Playing with Blocks

Zoe Brester-Pennings
Students made drawings from a still life of blocks.  This project applied the theory of Linear Perspective without actually using vanishing points.  Instead, armed with the knowledge of perspective and proportion, students drew the still life free-hand. In the drawing above, Zoe has created interest and dynamics by adding a diagonal edge in the background as well as applying textural and tonal elements to the blocks.

Thursday, October 13, 2011


Ashley Hurd
Here are a couple of finished drawings from the Imaginary Space in Two-Point Linear Perspective. Ashley's drawing above has not only accurately rendered a 2-point space but has also imaginatively illustrated the whole purpose of the project.  Which is to create spaces that will complement your concepts and narratives.  Note how she has repeated architectural elements in the design of the space (archways) as well as repeating the tentacles. The room brings a rigid structure while the tentacles add a fluid rhythm and movement to the composition.
Danielle Bazsuly
Danielle's drawing, albeit a more straight forward rendering of a space, is also very inventive and imaginative with her use of eastern influenced archways. This space too is beautifully designed.  Note how the tonal rendering brings a sense of depth and atmosphere to the space.

Tuesday, October 11, 2011


Work must be presented in a paper, plastic or canvas tote envelope or cardboard duct taped.  No folded or rolled drawings.
1. Gestures (3 of any)
2. Contour
3. Ideal Solids (both)
4. Subjective Value
5. Value Patterns
6. Value Reduction
7. Modeling
8. Rendering Light
9. Perspective
10. Homework
11. DHR

HOMEWORK#4: Under the Sink

On 18 x24 in., hand-toned, drawing paper using charcoal materials and erasers make a drawing of the space under your sink; any sink. Use value subjectively to emphasize and exaggerate the lighting conditions and the character of the space. Note the composition in the drawing above.  The use of receding diagonals adds depth and dynamics to the space.  A straight on view of the sink would be far less interesting. Also note the use of dark values in the background to push the objects forward.

Friday, October 7, 2011

THURS. 10/6 Imaginary Space (continued)

Students continued working on their Imaginary Space in Two-Point Linear Perspective drawings. Above is a work in progress by Lina Chambliss.

Wednesday, October 5, 2011

TUES. 10/4 Two-Point Linear Perspective

In class we discussed some of the functions and properties of Linear Perspective: 1. Establishes viewer location from a fixed point of view. 2. Diagonal parallel lines will converge meeting at vanishing point(s) located on the horizon line (eye level). And 3. Objects will appear to diminish in size as they recede into the distance. By the end of class we had established the ground plane and back walls seen in the demo above.

Friday, September 30, 2011

THURS. 9/29 Value and Rendering Light

Values are determined by the lighting conditions (i.e. source, time of day, etc.) as well as the planar structure of the objects.  Most artists use value to address the volumes of forms as well as the lighting conditions but some artists will emphasize the light patterns over volume.  To do this, artists will employ a mark-making technique that contradicts volume capturing and focusing on the juxtaposition of dark and light values. The drawings here show a single directional hatch technique and the scribble technique.
Cullen Houser

Joseph Easterbrook

Wednesday, September 28, 2011

HOMEWORK #3 Dinner Is Served

Alan DeMarche
For this assignment, you are to draw the before or after setting of a meal (breakfast, lunch, dinner, etc.) Create an asymmetrical composition of plates, glassware, silverware, etc. You may include cereal boxes, condiment bottles, etc. to complete the narrative. Your drawing should be in full value addressing the categories of light.  Use graphite pencils on 18 x 24 in. drawing paper.

TUES. 9/ 27 Modeling Light and Form

Valentin Mendoza

Leah Leahy
Modeling is the application of value gradations to render forms 3-dimensionally. Students observed light patterns and addressed the categories of light within simple still life arrangements. Still life consisted of one dark object, one light object and one mid-value object.  The objective was to address the categories of light as well as translating the local values of each object to the drawing. The additional challenge to this particular arrangement of objects is the shiny, reflective surface.  The thing to remember is that you are not drawing a shiny surface instead you are drawing patterns of light and dark values.

Friday, September 23, 2011

THURS. 9/22 Value Reduction

For this project, students observed the local values of objects within a still life and their shadows.  If a value ranges from 1 to 5 (high key) it remains white in the drawing.  If a value is low key it is filled in solid black.  These drawings become very abstract and suggest the forms rather directly illustrating the objects. The key to a successful design is to establish a rhythm or path between the black and white shapes and to use repetition if possible.
Lina Chambliss

Magalli Larque

Ross Teter

Wednesday, September 21, 2011

TUES. 9/20 Value Patterns

Students continued exploring Value.  Students tried to address the value patterns observed in the still life while also exaggerating and emphasizing areas in order to create a stronger, more balanced composition.
Bikesh Maharjan

Lilly Valencia

Ashley Hurd

Agun Gede

Alexis Rodriguez

Melissa Ehret


Michael Martinez

Jessica Eckles

Abigail Sanchez

Dori Becket
Finished work from last Thursday's class.  Notice the use of repeating and similar values and shapes within the compositions.  The use of line in the top two images creates a strong sense of rhythm and movement. The bottom two images have used repeating patterns to help establish a rhythm.