DISTAL CUES: Ideal Solids

Erin Deacon

Last night the class made a series of quick, gestural composition studies using the five Ideal Solid forms (cone, sphere, cylinders and cube). After completing the quick studies, the class made one large scale drawing on hand-toned paper. The objective was to employ the distal cues and to try and touch 3 to 4 edges of the paper. Erin's drawing above is well balanced and effectively employs the concepts behind the distal cues. In addition, she has skillfully used additive and reductive techniques to create textural as well as volumetric forms.

IDEAL SOLIDS

Jin Albrecht

Last night we discussed ellipses (circles in perspective), planar analysis, the categories of light and the Ideal Solids (standard geometric forms found in most objects). The Ideal Solids are: cone, sphere, cylinder, open cylinder and cube. In addition, we talked technique, additive tonal drawing with the charcoal sticks as well as pencils and reductive drawing with the erasers. Jin's drawing of a cylinder illustrates additive tonal techniques addressing the categories of light with reductive drawing (using the eraser) as well. Furthermore, the contours have been emphasized for greater volume. Check the tabs above for more info on the Ideal Solids and the categories of light under Value.

LINE: Gesture

Last night we continued exploring Line through a series of drawings addressing cross-contours, continuous line, scribble, mass and negative space. The important distinctions to remember are 1. line drawings address the structure of form and 2. scribble and mass techniques address mass and volume. In addition, the latter address value changes in light because they are essentially tonal drawings.

Dylan Freitas

 Cross-contours address the contours moving across and around a form rather than the outside edges. "Accents" in the line quality may suggest a change in the structure as planes advance and recede as well as addressing the way light falls on the form.

Suzie Larsen

 Continuous Lines address the structure and volume of a form by creating an armature or skeleton with vertical and horizontal cross-contours.

Joe Mulcaire

 Scribble Gesture addresses the mass and weight of a form as well as the location of a light source.

Erin Deacon

 Mass Gesture like Scribble addresses the mass and volume of an object. Because it is a tonal technique, the categories of light are illustrated as well.

Joe Mulcaire

Negative Space and/or shapes are the areas around and within the forms. In the case of the arrangement above, the objective is to "suggest" the gourds by drawing the shadows, receding planes and passages between the objects.

LINE: Contour

Erin Deacon

Last night we began our explorations in LINE. The key points to remember is 1. Line is like a path that leads the "eye" around and through a composition. 2. Dark lines advance while lighter lines recede. The techniques employed were contour, cross-contour and scribble. Contour Line drawings address interior and exterior volumes as seen in the clamp, planes and spring in the drawing above. Notice how these unite to balance the composition in a triangular rotation. The quickly sketched areas strengthening the balance by a establishing a repeated motif throughout the composition. More info on Line is in the tab above. The techniques of cross-contour and scribble (not seen in the drawing above) will be re-addressed in class next week.

CLASS INTRODUCTION

Last night was the first night of Art 7A Drawing and Composition 1, Fall 2014. We discussed the syllabus and materials. On Wednesday we will discuss Line. The materials needed are graphite pencils, 18 x 24 in. drawing pad and a sketchbook.

COLOR

Betty Burg

Siobhan Williams

Last Friday students began the morning with color studies of three objects: dice, ball and a letter or number. Betty has effectively employed a complementary color scheme of blue and orange. The expressive mark-making brings extra energy and dynamism to this lively scheme. Notice how she has mixed a little of all the colors in each object.
In the afternoon, students made individual still life arrangements. Siobhan has skillfully employed various elements of the distal cues, specifically overlapping forms and a value gradation. In addition, she has effectively used color temperature to address the advancing and receding forms in the space as well as on the skull.

COLOR

Students finished up working with color pencils last night. Some students made multiple small compositions while others worked on large scale compositions.

Riley Crandall

Riley chose to work from observation arranging multiple objects for a traditional still life study. The composition is well balanced and the objects are proportional to the size of the paper. The spacial relationships are believable and his observations of the values and colors are very well executed.

Jane Collier

Jane combined elements from observation as well as tapping into her imagination. The composition is balanced and framed well within the space focusing attention towards the glowing bottle. In addition, she has effectively used a transition from cool colors in the shadow areas towards warm colors in the light. Her manipulation of color complements the subject matter while creating a visually pleasing environment. The dragon seems to be blissfully embracing or cradling the bottle of fire elixir.

Stevie Young

Stevie has combined elements from her imagination with those observed as well. She too has very effectively used color suggesting spatial depth -cool colors receding, warm colors advancing- as well as casting a sense of light and overall mood within the composition. Especially successful is her use of complementary colors on the antlers creating  glowing oranges, reds and yellows on the underside accented by blues on the receding planes.