Wednesday, February 29, 2012

THURS. 2/28 Local Value continued

Jorge Torres
Thursday night students continued investigating local value. The drawing above illustrates three objects of three different values. Of particular notice are the gradations in the white cup and the weight in the oil can. In addition, the vase exhibits strong reflective properties. Note the gradation rising from the center to the top of the vase sprinkled with highlights and the reflections of the cup and the oil can.

Tuesday, February 28, 2012

MON. 2/27 Local Value Continued

Dayana Leon
Students continued addressing Local Values. This still life arrangement included one more value: one gray object. The drawing above clearly illustrates various and different local values in the hammer head, cup and pitcher. Furthermore, the categories of light exhibit smooth gradations with line work that is very complementary to the tonalities. Remember heavy outlines flattens the forms. And lastly, notice that even the white pitcher has an all-over, soft, gray tone where the white of the paper is reserved for highlights.

Monday, February 27, 2012

HOMEWORK #3 Local Value

student drawing
This assignment is basically a repeat of the latest in-class drawings. On 18 x 24 in. drawing paper using graphite materials and erasers, make a drawing addressing the Local Values observed in a still life. Arrange a still life of at least one dark object, one medium object (gray) and one light object. Your drawing should represent objects of at least three different local values as well as illustrating the categories of light.

Friday, February 24, 2012

THURS. 2/23 Local Value

Thursday night students made drawings from one light object (mug) and one dark object (wine bottle). The objective was to address the local values of the objects as well as the categories of light. When drawing reflective and/ or transparent surfaces it is important to observe the value patterns rather than thinking about the surface. In other words, don't think about "glass" look at the juxtaposition of light and dark shapes. The wine bottle above exhibits strong reflective and transparent qualities. Note the use of highlights and the absence of harsh or heavy outlines. Both objects are clearly of different values.

Thursday, February 23, 2012

WED. 2/22 Local Value

Wednesday night students began studying Local Value; the actual value upon the objects. Still life consisted of one light object (mug) and one dark (wine bottle). The objective was to address the values as well as the categories of light. The drawing above is a good example of line and tone working together. Note the absence of heavy contours, specifically outlines. Observing the left edge of the mug one can see how the edge appears and disappears into dark and light patterns. Outlines flatten form no matter how good the tonal rendering is executed. A "lost and found" line suggests volume. The bottle, although a bit too light, has a good sense of volume and is well proportioned to the mug.

Wednesday, February 22, 2012


Frank Vallin
Here's a study in value patterns from Tuesday night. The drawing above exhibits good proportions in relation to the page (this includes the cast shadow) as well as rich, full and balanced values. Notice how the strong contrasting black background enhances and complements the lighter value of the "paper wall." Dark shadows within the "wall" help draw the "eye" inward and balance the background with the cast shadow in the foreground; in a sense creating a bridge between the two spaces. A particularly nice touch is the way Frank exaggerated the depth of the paper by highlighting and creating a slight cast shadow along the top edge of the paper.

Thursday, February 16, 2012


Mattie Kent
In contrast to the "subjectivity" of Monday's project, Wed. night students approached their drawings with a more "objective" eye. Students rendered the Value Patterns observed on folded sheets of paper with circles cut away. In the drawing above there are two zig-zagging movements. The first is visible in the top and bottom edges of the folded paper.  The second is implied in the placement of the large circles cut away in the paper. Mattie's drawing exhibits a full range of values with a strong contrasting light.

Wednesday, February 15, 2012


Brenda Laoxana

Kannha Hemsouvanh
Value is used "subjectively" when the artist bases his or her decisions on intuition and the demands of the design. In other words, values are used to create volume, rhythm and psychological or dramatic impact. Brenda's drawing exhibits a strong rhythm directed by the subtle use of line wandering through and around the forms. This is complemented by the triangular and diagonal placement of similar values and textures that also help direct the "eye." Kannha's drawing is a very dynamic, moving and confrontational view of a portrait in turmoil. The combination of pointed and curvilinear forms creates a sense of movement and animation as if the facial features were liquid and fluid. His use of value propels the design while bringing volume and depth to the image.

Tuesday, February 14, 2012

MON. 2/13 Subjective Value

When using value subjectively, the artist relies more on intuition, imagination and the demands of his or her design rather than fact based decisions. Students in the M/W class began drawings of abstracted portraits and designs using value subjectively. These drawings are due Wed. pics will follow.

Friday, February 10, 2012


Amy Eldridge
The T/Th class made studies of rectangular forms (milk cartons, blocks) addressing proportions and diagonals. There are a few useful tips when trying to draw diagonals freehand (i.e. without using linear perspective). First, close one eye and hold out a straight edge (pencil, ruler, etc.) in front of you. Imagine you are resting the straight edge on the diagonal. Be sure to hold it as if against a window; don't point it. That angle should translate exactly to your drawing. Second, compare verticals, horizontals and diagonals to the edges of your paper (i.e. straight verticals should be parallel to the paper). And lastly, and possibly most important, try drawing the negative shapes between objects rather than the objects themselves.

Thursday, February 9, 2012

WED. 2/8 PROPORTIONS: Diagonals

We continued working on proportions Wed. evening with a focus on rendering rectilinear forms and cylinders. Patrick's drawing is a good example of all the things we've discussed to date. The composition exhibits a strong bottom left to upper right movement starting with the blocks and ending with the "grim reaper" form. He has used scale change with the larger forms in the foreground and the smaller still life in the upper left. He has suggested volume and a light source while using a light to dark gradation on the ground plane to push back the space.

Wednesday, February 8, 2012

TUES. 2/7 PROPORTIONS: Organizational Line

Frank Vallin

Lily King
The T/Th class started proportional studies. We began with studying the proportions of wine bottles and then onto more complex forms. Frank's drawing above illustrates the organizational line process. A closer look reveals the central axis line, helpful when rendering symmetrical objects.  Also note the placement of ellipses at every planar shift (i.e. the cylindrical body, cone-like shoulders and the cylindrical neck).  These lines add three-dimensional structure and establish locations for tonalities.
Lilly's drawing illustrates a more "finished" image with tonal areas addressing the "categories of light." The organizing lines have blended into the tonalities. Both drawings exhibit strong attention to the negative areas as well.

Tuesday, February 7, 2012

MON. 2/6 PROPORTIONS: Organizing the Picture Plane

Alisha Ascencio
Class began with a brief lecture on the work and technique of Alberto Giacometti. His drawing technique clearly illustrates the connections required to render accurate proportions. We also discussed the importance of locating the ideal solids within everyday objects.  Notice the spherical shape in the base of the object above. Attached is a cylinder and lastly the handle and spout. Locating the ideal solids will make a more volumetric drawing structurally and aid in the placement of values. Also note in the drawing above the "reductive" technique of creating white lines and highlights with the eraser. The addition of atmospheric marks in the negative areas adds a sense of place allowing the object to settle into the space.

Friday, February 3, 2012

THURS. 2/2 IDEAL SOLIDS: Creating Spatial Depth

Nemea Laessig
Thursday night began with a slide lecture on "distal ques"; see previous post for more info. Nemea's drawing above exhibits a moderately deep sense of space with a bottom left to upper right movement (cube to cone). It's as if the objects are lined up in diagonal rows. Note how the repetition of forms pulls the "eye" around the composition: remember the "eye" is looking for similarity in form, shape, value and texture. Regarding texture notice that the ground appears to be a different material than the objects.  In addition, all the objects illustrate a strong sense of the "categories of light."

Thursday, February 2, 2012

WED. 2/1 IDEAL SOLIDS: Creating Spatial Depth

Dayana Leon
Wednesday night began with a discussion on Distal Ques; a series of strategies for creating depth within the field. The list contains 1. Atmospheric Perspective: objects in the foreground exhibit sharp, crisp edges and details, vibrant, rich colors and values all of which diminish as the objects recede into the background. 2. Proportion and Scale: objects become smaller as they recede towards the horizon line. 3. Location: objects lower on the picture plane appear to be closer where objects higher up appear to be farther away. 4. Overlap and Diagonals: when one form is behind another foreground and background have been established; diagonals suggest depth due to "location", point A is lower, point B is higher. 5. Value: dark values recede; light values advance.