Friday, February 25, 2011
Thursday, February 24, 2011
Wednesday, February 23, 2011
Wednesday, February 16, 2011
Jack Hamilton's drawing (above) is well balanced between positive and negative areas. In particular the dominant white (positive) area in the lower left juxtaposed diagonally against the large dark (negative) area in the upper right corner. Although there are contours where there should be none in this drawing, his use of the shadows in the skull's jaw and cheek area and on the pumpkin are very well done.
Mariah Cortez Harvey's drawing (below) illustrates perfectly the merging and connecting of the similarly valued shapes. The presence of the forms is inferred rather than being enclosed by contours. This is achieved by Mariah's astute observations of the shadows most notably in the centered chess piece, skull and pumpkin.
Patrick Kirven's drawing (below) is also very well composed. Notice the balance between the larger shapes and smaller compartmentalized areas of shapes as in the stacked horizontals on the right. Furthermore, the drawing exhibits strong spatial separation by placing more white and less black in the foreground and reversing this in the background.
Tuesday, February 15, 2011
Friday, February 11, 2011
Wednesday, February 9, 2011
Tuesday, February 8, 2011
Friday, February 4, 2011
Tony Topacio's drawing expands on both of these themes to make an organizational line drawing. Organizational lines, enclose the positive and negative areas allowing the artist to organize and visualize the parts and their relationships to one another. Looking closely, one can see the interior structure of this object revealing top and bottom ellipses, the planes around the cylindrical body and the cone on top.
Thursday, February 3, 2011
Wednesday, February 2, 2011
Avi Scheuenstuhl's drawing (top, above) exhibits smooth, warm tones and a strong triangular design. The warm tones are achieved by only using soft whites. The triangular design is implied by the placement of the objects.
Donna Holbrook's drawing (middle, above) has a much colder temperature due to her use of high contrasting whites. She has also embarked on a path of separating textures. Notice how course the objects are in relation to the ground plane.
Jennifer Green's drawing (bottom, above) has also created rich textures but here she uses the eraser to push the material around instead of using the grain created by the pencil as in Donna's drawing. The exaggerated contours bring a sense of character to the objects - note the point on the cone in particular. And lastly, the reductive drawing applied to the ground plane has created a strong sense of atmosphere and environment suggesting a wind swept desert.
Below (top) we have a great composition from Brennon Hedman. We are drawn into the space by the large, cropped sphere and pushed along over the other forms then pulled to the left by the small open cylinder in the corner. This drawing also exhibits strong use of line and texture not only in the objects but on the ground plane as well.
Lorelle Ross's (below, middle) drawing also exhibits strong use of line and textural qualities. There is a true sense of character and mass to all of the forms achieved through additive and reductive drawing techniques.
Patrick Kirven's drawing (below, bottom) could use a bit more emphasis in the core shadow but the strength of the piece lies within its composition. We are drawn in from the lower right corner and led through the space in a snake like wiggle up to the upper right corner. Furthermore, Patrick has strategically balanced the left corner by placing a dark mass moving in towards the center.