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.

THURS. 2/9 PROPORTIONS: Diagonals

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.

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.

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.

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.

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."

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.