HOMEWORK #2 Ideal Solids

In your sketchbook using graphite pencils draw the five geometric forms: cone, sphere, cylinder, open cylinder and cube.  One drawing per page addressing all six categories of light: cast shadow, reflected light, core shadow, shadow, light and high light. Pay attention to line quality and accenting. Refer to the two previous posts for examples.

MON. 1/30 IDEAL SOLIDS

Tara Funk

The M/W class began their studies of the Ideal Solids. See previous post for more info. Note in Tara's drawing above the way line complements the tonalities. It's important to swell the line in areas so as not to "cut-out" the form too much.  An even line around a form is "flattening" rather than creating volume. Observe the cone, cylinder and open cylinder and note how the line on the light side of the form broadens at the base of the forms and almost "breaks" or disappears as it approaches the top. These are lines suggesting volume.

THURS. 1/26 IDEAL SOLIDS

Jonathan BeVier

The T'/Th class began rendering the Ideal Solids; these are standard geometric forms found in most man-made objects. The arrangement consists of a cube, sphere, cylinder, cone and short open cylinder.  We also added the categories of light rendering the forms three-dimensional.  There are six categories of light: cast shadow, reflected light, core shadow, shadow, light and highlight.

WED. 1/25 LINE: Gesture

Alisha Ascencio

James Gromo

M/W class followed up contour drawing with gesture studies.  For more on gesture, see the post from 1/24. Above are two examples of scribble gesture drawings. Alisha's drawing has skillfully captured the mass and volume qualities indicative of the scribble technique. Note the placement of the dark values to add weight and a sense of light striking the form of the gourd. In addition, the scale and size of the gourd holds the page very well engaging with the negative space around the gourd. James's drawing exhibits a sense of motion by way of the amorphic edges of the form. The gourd seems to pulse and flutter like a jelly fish through water.

TUES. 1/24 LINE: Gesture

Nemea Laessig

Students in the T/Th class made gesture studies of gourds. Gesture is an all encompassing, quick and spontaneous rendering of the artist's subject; in this case a gourd. Where contour uses a slow, single line, gesture uses multiple, quick lines to enclose and surround the form in a cage or armature. There are three distinct approaches to gesture drawing: 1. line, 2. mass, and 3. scribble. The drawing above employs a combination of mass and line. The mass technique uses broad, sweeping strokes identifying a sense of volume and weight as well as light whereas the line technique adds structure to the form like a skeleton. Note how the inclusion of a horizon line and the dark, atmospheric, cloud forms in the negative space hold the gourd in place adding a sense of weight and place or environment.

MON. 1/23 LINE: Contour Studies

Amanda Price (Art 7B)

The Monday/ Wed. class completed their contour studies last night. The drawing above illustrates the ability of line to identify interior and exterior volumes as well as changes in color and texture. Notice the faint line work within the objects isolating changes in the surface appearance. Furthermore, the composition exhibits a strong zig-zag movement starting in the upper left corner zagging its way down to the bottom right corner. See the post from 1/19 for more on contour.

HOMEWORK #1 Contour Studies

In your sketchbook using 3B graphite pencil or ink, make a series of (10) contour studies; one per page. Choose complex objects like tools, clothing draped over a chair, machined parts, house plants, etc. Try to accent your line quality by employing thicker and thinner, lighter and darker variations as well as "breaks" in the line (lost and found technique). Note the application of the lost and found technique on the interior volumes of the objects above where the side planes meet the top planes. REMEMBER: No Shading!

THURS. 1/19 LINE: Contour

Frank Vallin

For our first drawing session students made Contour studies of tools and random machined parts. The Contour approach employs a single, incisive line that defines interior volumes as well as exterior volumes. This is not "outlining" which only defines exterior volumes as seen in silhouettes. Contour drawing strengthens "eye-hand" coordination.  The aim is to be drawing exactly what you are seeing at that moment.  Don't let your eye move faster than your hand. Line as an element can define structure, color, texture, weight and light. Note in the drawing above that line not only defines and encloses the form but also addresses the changes in textures as in the hammer handle. IMPORTANT: Contour drawings have no tonal areas (i.e. no shading).

TUES. 1/17 AND WED 1/ 18 "Class Introductions"

In Tuesday night's class (as well as Wednesday's) we discussed the class requirements and covered the materials used throughout the course. We will begin with the two drawing pads and sketchbook, graphite pencils and stick, charcoal pencils, compressed charcoal, vine charcoal, plastic eraser and kneaded eraser.