HOMEWORK # 11 Atmospheric Perspective

Make a drawing employing atmospheric perspective.  Your subject may be an interior or exterior view or the surface of a table top.  Be creative and inventive with this project but be sure to establish foreground, middle ground and background with the appropriate effects of atmospheric perspective.  You may use any medium. Paper size 18x24 in.  The drawings from class posted below are all good examples as well as the two posted here.

4/27 Two from Tuesday

Here are two drawings from the T/Th class.  (Above) Stan Mishanetz has approached this drawing with distortion and a surrealist/ outsider sensibility.  The drawing has broken away from straight forward linear perspective and in effect has created a more dynamic and intriguing composition.  The space is basically broken down into three sections. 1. A large ground plane. 2. A medium sized shape on the left. 3. The busy compartmentalized shape of the lockers on the right.
(Below) James Conrad has also taken some liberties with his rendering of the space at Analy Hall.  By arcing his converging lines, he has created a push back into the hall that creates a rolling sensation.  It makes for a more animated sense of the space, as if we were moving through it.  He has employed atmospheric perspective by giving more clarity and richness to the lines and tonalities of the objects in the foreground while lessening the intensity and allowing the shapes to fade as they recede into space.  Both of these drawings are perfect examples of "Making Something Out of Nothing".  In other words, their drawings are infinitely more interesting than the actual space they reference.

4/26 and 4/27 Atmospheric Perspective

Atmospheric Perspective takes into consideration the atmospheric conditions when rendering deep space.  There is more to rendering the atmosphere than just fog, smog, or rain.  Even clean, clear air has an effect on the way we observe space.   The concept of Atmospheric Perspective divides a space into three levels: 1. foreground 2. middle ground 3. background.  Objects in the foreground have sharper details and textures, richer values and brilliant colors.  As objects recede into a space details and textures diminish while values and colors lose their intensity.
The drawing above by Alan DeMarche uses a combination of concepts. The space is rendered in One-Point Linear Perspective.  He also uses the element of atmospheric perspective that diminishes details as they recede into space. The use of dark values also aids in pushing the space back as the lighter values in the foreground advance.

HOMEWORK # 10 Self-Portrait

For the self-portrait assignment you may create a traditional frontal or profile portrait or you may be more inventive.  For example you could include props or place yourself within a space.  The drawing at the top is a traditional frontal portrait but with the positioning and placement within the hand-held mirror and the inclusion of the sprained hand the portrait becomes much more visually as well as conceptually.  By placing the portrait all around the space, the drawing takes a more humorous and surreal approach to the portrait. Furthermore, the portrait becomes a motif that leads the "eye" throughout the composition.

This assignment should be drawn on 18 x 24 in. paper in any medium.

4/22 Self Portraits

T/Th class worked on self portraits.  Explorations in atmospheric perspective and spatial compositions next week.

4/21 Self-Portraits

M/W class was dedicated to rendering self-portraits.  Class began with some "Mass" drawings.  If you recall from the beginning of the semester "Mass" drawings should emphasize a sense of weight and light by rendering the dark and light value patterns not details.  The rest of class time was for working on portraits.

Kate Picchi does an excellent job of capturing her "smirking" expression. The spiraling shapes in the negative space add a touch of depth and whimsy. Kate used pen and ink with a brush and wash sketch.

Megan Muller's drawing has focused on capturing the subtle value gradations and planar shifts across the volumes of her face.  Drawn with graphite and eraser.

Katie Bogner's drawing is tonally and texturally rich.  This was achieved by her use of additive and reductive drawing.  Katie's use of highlights not only emphasizes the bone structure of the face but adds depth and realism to her hair. Drawn with charcoal and eraser.

Justin Edwards has combined charcoal and pastel.  He too has established a strong sense of the underlying armature of the face with his use of highlights emphasizing bone structure.  In addition, his use of flesh tones and the blending of lights and darks is confidently rendered.

4/20 Class Portraits

Drawings from T/Th class.  By filling the page and using high contrasting and bold values, Jonathan Florence has created a very striking and confrontational portrait.  Andres Fernandez has used distortion and broad sweeping values to create a very dynamic portrait. Robin Noelle has employed a slight exaggeration of forms hinging on caricature to capture the essence and character of Mary's gaze.  And lastly, Rashaun Parlett has used bold features complemented by bold marks and values to create a very dimensional and volumetric portrait. The mark-making in the hair and on the right side cheek and chin are particularly well drawn.

4/19 The Portrait

M/W class began working on portraits.  We started with a discussion on the proportions of the head accompanied by examples of portrait drawings by artists and students.  After that the class paired up to draw each others portraits. Wednesday will be devoted to working on self-portraits.

Homework #9 Drawing with Color

Choose three to five small objects and make a drawing using a color scheme that is complementary to the mood or function of the objects. This may be done on white or black paper.  The drawing should be at least 12 x 18 in.  The class drawings below are all excellent examples.

4/15 Drawing in Color continued

Drawings from the T/Th class.  The first drawing by Andres Fernandez makes great use of the black paper most evident in the shadows of the orange object.  In addition, the high lights on the egg are very well rendered.
Jonathan Florence's drawing of a Civil War cemetery is very well suited for its depiction on black paper.  The rendering of white on black paper adds a ghostly effect that is very complementary to the subject matter.  This is enhanced by the minimal use of color in the background trees.

4/14 Drawing in Color continued

M/W night the class continued working on drawings from Monday as well as starting some new.  We will critique the drawings next Monday evening.  Pics to follow.

4/14 Drawing in Color

Drawings from T/Th class. This drawing by Ashley Duncan exhibits rich colors and textures achieved by slowly building up the values and colors through layering and using multiple colored pencils.  Note the range of color found in the hammer head.  Rather than just using black to create grays, Ashley has included a violet hue to add warmth, richness and luminosity.

Adam Sanchez has used a dominant color scheme of green and red with a subordinate color scheme of violet and yellow. Note with this drawing how he uses yellow to move the eye around the composition.  This drawing is in progress.

Jackie Kruzic's drawing, although unfinished, reveals a very smooth, layered and confident use of color.  The colors are rich and luminous.  Jackie too has used a very controlled and layered technique in her application of combining colors to achieve the desired color and value.  The key here is to"take your time."

4/12 Colored Pencil Composition

M/W class started working on 3-5 object compositions using colored pencil on white paper.  General compositional strategies applied (i.e. cropping, engaging negative areas, etc.) as well as the requirement to choose a Color Scheme. Above is an in-progress shot of a drawing by Kate Picchi.  Kate has chosen to go with a monochromatic color scheme of blue with hints of the other primary colors for accents and shadows.  The color blue is very complementary to the cold nature of the objects being drawn. This drawing also demonstrates Kate's understanding of composition.  Not only is it well layed out with implied diagonals and interesting negative areas but she has wisely chosen to repeat the puzzle pieces of which in actuality there is only one.

4/8 Colored Pencil on Black Paper

Selections from the Tues./ Thurs. class.

This drawing by Skye Walker exhibits some beautiful and textural rendering around the cut area of the antler.  The highlighted twisting forms are particularly well done as well.

Carol Venolia's manipulation of the colors is masterfully executed.  This complementary color scheme of yellows and violets was achieved with primary colors and white.  Furthermore, the expressive mark-making adds texture and volume to the form.

 Brenda Dixon's drawing exhibits smooth and fluid transitions throughout this almost complementary color scheme of greens and reds.  The strong use of highlights add an extra sparkle and richness to the drawing making it "pop".

4/7 Colored Pencil on Black Paper

M/W class began their colored pencil drawings. We started with a lecture on some color theory focusing on the various "color schemes"-- colors that work well together.  Students drew with the primary colors and black and white on black paper.  Alan DeMarche's employed a more dense and saturated application of color whereas Emile Rosewater used a more "airy" or layered technique.  Alan also began his drawing by laying in a base of white.  In other words, he started by addressing all the highlights and midtones in white working towards the shadows and dark areas.

Emile used the warmers on the surface of the skull and in the highlights and used the "cooler" blue hue in the shadows and receding planes.

4/6 Ink Drawings Continued

T/Th class continued working with ink by observing tools and bones.

4/5 Ink drawings continued

M/W's class finished up ink studies with bones, skulls, and antlers.  All previous ink lectures and techniques applied.  Nothing new really other than the objective was to create a sense of texture. Drawing by Katie Bogner.

4/1 Exquisite Corspe

Tues/Thurs. 7A got their introduction to ink by playing "Exquisite Corpse".  Here are a couple of drawings from the game.

3/31 Ink Studies

Wednesday night the class made single subject studies of tools.  The paper was torn to 12 x 18 in.  The class was instructed to employ the various line/value techniques of stippling, hatching, cross-hatching and invented textures as well.  This drawing by Elaine Gutsch exhibits a clear understanding of using line quality to suggest volume while employing different line techniques (stippling, cross-hatching) to suggest the various materials comprising the tool.

This drawing by Kate Picchiexhibits excellent line quality while beautifully addressing the negative space through stippling.  The combination of line and stippled areas also provides a strong sense of weight to the object's placement on the table.