TUES. 10/30 INK: The Exquisite Corpse

Here are two drawings from the T/Th class. Of particular note is the torso in the top drawing and the mermaid in the bottom drawing. The torso exhibits various linear techniques as well as some brush and wash applications. The mermaid section exhibits rich textures and fluid contours that are complementary to the subject.

MON. 10/29 INK: The Exquisite Corpse

As an introduction to working with India Ink and pen nibs, students played the Dada/ Surrealist game, "The Exquisite Corpse." The game requires at least three players (head, torso, legs). Each player draws one section. No one is to see what the other players have drawn until the image is complete. Students experimented with the techniques of: hatching, stippling, scribble and patterns.

THURS. 10/25 Imaginary Space Project

Art 7B Alisha Ascencio

Janine Barthol

Art 7B Phoebe Kobabe

Here are three drawings from the T/Th class. Alisha's drawing at the top (still in progress) is a imaginatively, staged set with stairs, archways, fantastic lights and a long hallway reaching back into another space. It is this hallway that is of particular interest. Her drawing illustrates the possibilities of one-point (the hallway) and two-point (the room) perspectives enforcing the same space.
Janine's drawing exhibits a symmetrically balanced room that is almost wing-like in its design of ascending stairs, repeating archways and lastly triangles and diamonds.
Phoebe's drawing at the bottom illustrates the Ferry Building in S.F. Complete with values and  narrative.

WED. 10/24 Two-Point Perspective

Arielle Lehmer

Mike Koonce

Here are two examples from the M/W class. Arielle's drawing illustrates the interior of a courtyard. The space has been fully developed with value and textural details. Of particular note are the steps on the left. Notice how they converge at the top. This is an inclined plane where the sides of the steps converge to a vertical vanishing point and the steps converge to the two vanishing points of the whole space.
Mike's drawing exhibits the cool, methodical appearance of a space that illustrates accurate proportions as well as perspective. In order to create a drawing in proportion, you must establish a scale. Look closely at the side walls and you will see his units of measure representing a "foot."

Mon. (10/22) & Tues. (10/23) Two-Point Perspective cont.

Students continued working on imaginary space projects Monday and Tuesday. Pics will follow.

TWO-POINT LINEAR PERSPECTIVE

Instructions

All students began Two-Point Linear Perspective drawings this week. The 7A class followed the directions above. I walked everyone threw the establishment of the horizon line, ground plane and back walls. From there students went in their own direction to develop the space and the objects that occupy it. The drawing above illustrates the added elements of floor tiles, a balcony and a pyramid.

Mon. 10/15 LINEAR PERSPECTIVE

Class began with a brief slide lecture presenting some examples of drawings in One-point and Two-point Linear Perspective. The remainder of class was dedicated to using linear perspective. We drew boxes, cylinders, cones and pyramids followed by an archway and stairs.

7B LIGHT AND DARK RHYTHMS

Phoebe Kobabe

Students of Art 7B made value drawings addressing texture and value rhythms within a densely packed compositional arrangement. Notice Phoebes use of criss-crossing diagonals starting with the artichoke flower in the upper left with another in the bottom right. This is complemented by the placement of the feathers in the remaining corners. Although this drawing is unfinished you can see the strong attention the the light patterns and textural variations which enhance the mood and lighting of the image as well as the rhythmic movement around the composition.

MIDTERM DRAWINGS

Joanne Wallace

Joelly Lobato de Faria

Students worked on drawings applying and addressing all issues discussed in class to date (composition, value, line, proportions).  Joanne's drawing above is a very good example of the light and dark patterns evident in chiaroscuro drawing. Notice the almost geometric/ cubist division of the composition. Her dramatic use of value adds an iconographic feel to the still life.
Joelly's drawing illustrates the subtle value gradations so indicative of graphite drawings. Notice the division of the background into enclosed positive and negative shapes. This drawing exhibits a strong upper left to bottom right movement starting with the diagonals in the corner pushing down on the objects and pulled by the cast shadows.

HOMEWORK #4 "The Meal"

Frank Vallin

Nemea Laessig

On 18 x 24 in. drawing paper using graphite pencils make a drawing of a place setting for a meal. Your still life should illustrate the "before" or "after" of the meal. Your composition is of utmost importance. Most students start this drawing with very "poor" compositions. DO NOT draw a plate in the middle of your paper with silverware on either side. Note in the drawings above that the "viewer" is looking across the table and not straight down at a plate. Create an asymmetrical composition including: plates, glassware, silverware, etc. You may also include cereal boxes or condiment bottles and the like for a stronger "narrative."

Thurs. 10/4 Art7B "Larger Than Life"

Savannah Haveman

The students of Art 7B made drawings from small, hand-held objects. Savannah chose a metal spool. Her approach of drawing the form transparently, overlapping and changing size and orientation allowed for new shapes to develop in the process. She has effectively used value, shape, and texture to create rhythms and movement through similarity. More importantly, she has taken an ordinary object and turned into a slightly humorous but dynamic and engaging jumble of cartoonish forms. In other words, Savannah has done a great job of "making something out of nothing."

THURS. 10/4 Rendering Light

Isabel Martinez

Victor Torres

Isabel's drawing above illustrates the scribble technique. Her clear rendering of gradations and value in general brings a strong sense of light to the composition while maintaining the subtleties of volume. Furthermore, her use of cropping has engaged the negative areas very well, specifically the upper left and right corners and the play of light and dark on the table top.
Victor has employed a diagonal, parallel hatch technique for his drawing. He has also chosen to create a vignette of the composition allowing the perimeter of the still life to fade into the negative space surrounding it. His drawing too has a rich, full range of marks and values. What is particularly appealing are the little variations and blemishes within larger areas of value. This keeps the tonalities more visually interesting and less trapped, more amorphous.

WED. 10/3 Rendering Light

Mike Koonce

Alicia Orozco

After weeks of addressing value as a means to creating volume and three dimensionality, the M/W class addressed value emphasizing light. Students chose to work in one of two techniques. Mike's drawing at the top illustrates a single, directional hatch technique. Even though the straight, diagonal hatching contradicts the rounded volumes of many forms, the contrasting values and gradations exhibit very subtle volumes and depth of space. This asymmetrical composition employs a series of left to right diagonals beginning with the pyramid in the corner and ending with the "negative" triangle in the upper right corner.

Alicia's drawing illustrates the scribble technique. The swirling lines are alive with fluid rhythms and variation. This composition exhibits a right to left diagonal balancing a "negative" triangle in the upper left with the bell form in the lower right. Furthermore, this drawing exudes a strong sense of light with the gradation in the background complemented by contrasting cast shadows and accents.

TUES. 10/2 Value Reduction

Robert Lyons

Robert's drawing exhibits a strong clockwise movement. The white positive pathway encircles the large black shape on the right. The image is reminiscent of a landscape with cloud-like forms along the top and architectural forms occupying the bottom half of the composition.

MON. 10/1 Value Reduction

Patrick Burgess

M/W class made drawings in which all values were reduced to black or white. Considering a value scale of 1 through 10. If a value falls between 1 and 5 it remains white. If it falls between 6 and 10 it goes black. No grays. These drawings become very abstract and flattened due to the merging of shapes and their metamorphosis into a new shape. There are no linear divisions.  You must be willing to let go of the original form. The results reveal black and white pathways surrounding isolated black and white shapes.

ART 7A MIDTERM PORTFOLIO REVIEW

Come to class with portfolios prepared for review next week.

1. Contour (tools)
2. Gesture (any 3 examples)
3. Ideal Solids ( 2 drawings)
4. Proportions (organizing lines)
5. Subjective Value (abstract design or face)
6. Value Patterns (paper cut-outs)
7. Local Value
8. Value Reduction
9. Rendering Light

I will also review any homework at this time.

ART 7B MIDTERM PORTFOLIO REVIEW

1. Contour (tools)
2. Gesture (gourds)
3. Eye Level and Base Lines (high and low)
4. Improvisation
5. Vanitas
6. Autobiographical Still Life
7. Larger Than Life