3/22The Jungel (Light and Dark Rhythms)

Monday evening we began the "Jungle" drawings.  The objective of this project is to use value patterns and textures to create a sense of rhythm and movement throughout the composition.  The compositional arrangement should be one that is continuous, engaging with all sides of the paper. When laying out the composition, begin with a large form that covers half or most of the page.  Next address the corners by creating groupings and clusters of other forms.  The forms may repeat and change scale across the composition to direct to viewer's eye.  Sketch out the entire composition before applying any tonalities.  Be sure to engage with the edges, use overlapping, cropping and change of scale.  When you are ready to apply tonalities pay attention to the value patterns and design aspects of your composition.  In other words, follow the demands of your composition by being inventive and interpreting your subject rather than merely translating visual information.  The demo drawing above illustrates the "process" of developing the image and is therefore "unfinished".

Spring Break

No Class Mar. 15 thru 20.  See you on Monday the 23rd. Enjoy!

3/10 Eye Level Continued

Continued working on Bird's Eye View compositions with a few added directions to follow: 1.  choose three objects. 2. draw from above. 3. touch at least three edges of the paper. 4. employ cropping (allow objects to go off the edge) 5. render the categories of light. 6. activate the negative areas.
There's a terrible glare on this drawing but the composition is good. It has a wide range of values including cast shadows.  The objects are placed at opposing angles (dinosaur and envelop).  There is textural / surface quality to the table top.  At first glance it may appear to only engage two edges (bottom right) but the crack in the table touches the top dividing the table into two portions (three edges touched).  This drawing as well as those in class were drawn with graphite pencils.

3/8 Eye Level Comps

Monday evening students worked on small, individual compositions.  The assignment was inspired by the studies created by Richard Diebenkorn.  Diebenkorn made numerous small drawings and paintings of objects situated on his desktop observed from various viewpoints.  Students chose three to five objects and composed compositions viewed from above creating an interesting tension between positive and negative areas. The drawings were 12 x 9 in. rendered with graphite pencils.

3/3 Perspective Continued

Continued working on perspective drawings Wednesday.  Pictures to follow.

3/1 Two Point Linear Perspective

Started Two Point Linear Perspective projects on Monday.  The assignment is to create an imaginary space using two point linear perspective.
The rules of linear perspective follow:
1. Perspective establishes the location of the viewer; above, below, center, left or right. Therefore, you must have a fixed point of view.
2.  All parallel lines will appear to converge at vanishing points located on the horizon line (eye level).
3. Horizon Line and Eye Level are the same thing.
4. A high horizon line displays more ground than sky (bird's eye view).
    A low horizon line displays more sky than ground (bug's eye view).
    Middle horizon line displays equal parts.
5. Objects will appear to diminish in size as they recede into the distance.

For examples of perspective in art look at the work of M.C. Escher.

2/24 Value Patterns

More value studies Wednesday evening.  This time we focused on value's influence on composition by establishing a pattern.  Students hand-toned their paper to a medium gray value.  Once the composition was sketched in the process was to focus on individual values of white (erased/ reduced), light gray (paper tone), dark gray (added) and black (added).  In other words, focus on all the white objects and areas.  Use the eraser to establish the whites.  Then move on to another value . . . say black.  This will bring contrast to a drawing quickly.  Draw in all the black areas paying attention to the way the "eye" is led throughout the composition.  Continue addressing the remaining values establishing a pattern and making adjustments as needed.  When you develop the pattern, you will see gaps where you may need another white or darker value.  One that is different than the actual still life setup.

 

 In Jilisa Dial's drawing the white shapes establish a strong triangulation that crosses the center of the drawing starting with the funnel to the bottom left and over to the books on the right.

In this dense and compact drawing by Zoe Huffman, values are repeated within the objects as well as negative areas and shadows.  Note the two triangles found in the chicken feeder and the funnel in the left of the composition.  These are counter balanced by the black triangle in the bottom right corner and upper right corner.  In addition, small dark triangles are found in the negative area  situated within the wooden picture frame and across the composition to the left on the corners of the stack of books. If you look closely, you can also find a series of white triangles throughout the composition.