Tues. and Wed. Feb. 1 & 2 COMPOSING W/ IDEAL SOLIDS

Students made drawings using the Ideal Solids developed in the previous evening's sessions.  The objective was to create a sense of deep space by placing the horizon line outside of the image area, place the objects on distant baselines and employ overlapping and atmospheric perspective.
Avi Scheuenstuhl's drawing (top, above) exhibits smooth, warm tones and a strong triangular design.  The warm tones are achieved by only using soft whites.  The triangular design is implied by the placement of the objects.
Donna Holbrook's drawing (middle, above) has a much colder temperature due to her use of high contrasting whites. She has also embarked on a path of separating textures. Notice how course the objects are in relation to the ground plane.
Jennifer Green's drawing (bottom, above) has also created rich textures but here she uses the eraser to push the material around instead of using the grain created by the pencil as in Donna's drawing. The exaggerated contours bring a sense of character to the objects - note the point on the cone in particular.  And lastly, the reductive drawing applied to the ground plane has created a strong sense of atmosphere and environment suggesting a wind swept desert.
Below (top) we have a great composition from Brennon Hedman.  We are drawn into the space by the large, cropped sphere and pushed along over the other forms then pulled to the left by the small open cylinder in the corner.  This drawing also exhibits strong use of line and texture not only in the objects but on the ground plane as well.
Lorelle Ross's (below, middle) drawing also exhibits strong use of line and textural qualities. There is a true sense of character and mass to all of the forms achieved through additive and reductive drawing techniques.
Patrick Kirven's drawing (below, bottom) could use a bit more emphasis in the core shadow but the strength of the piece lies within its composition. We are drawn in from the lower right corner and led through the space in a snake like wiggle up to the upper right corner.  Furthermore, Patrick has strategically balanced the left corner by placing a dark mass moving in towards the center.