VALUE: Light and Dark Rhythms cont.

Jay Odenthal

Lauren Tokunaga

Last night was a continuation of Monday night's project. The objectives were to 1. Employ the Distal Cues 2. Try to engage with at least 3 edges of the paper and 3. To establish similarity through value patterns.
In Jay's drawing (top) the bold, black verticals move in up and down across the page. He has pushed the materials around on the paper, adding and reducing, much as an expressive painter might do. The right side of the composition is particularly effective in bringing together elements in focus and out.
Lauren (bottom) has established a triangulation between the hole in the upper left (water can), down to the block and up to the hole (ceramic bowl) on the right. Again the right side of the composition is particularly well drawn in the area around the white bottle, block and ceramic bowl. The values are rich and contrasting and the line quality strengthens the contours and structure.

COMPOSITION: Distal Ques

Students made drawings from a large still life exploring the Distal Cues and cropping. These drawings were initiated like last weeks drawings by hand-toning the paper and employing additive as well as reductive techniques. Sorry my photo turned out to blurry to post. Click the tab above for an explanation of Distal Cues.

LOCAL VALUE

Guendalina Codella

The Friday class was playing "catch-up" again to the M/W class due to the holiday. In the morning the still life consisted of two white objects - one curvilinear, one rectilinear. In the afternoon, the still life was of three objects - one dark, one medium, one light. In the drawing above, Guendalina has skillfully illustrated the three local values of each object. In addition, the categories of light have been fully rendered providing volume and a sense of light. Notice the accenting around the white object. The dark of the negative space is balanced by the core shadow moving to the accent at the base and then to the accent following the curve on the left. Furthermore, The proportions of the objects are well suited to that of the paper as well as to each other. The weight of the dark bottle and cream cup are equalized by the weight brought by the negative space in the background. All in all, a well balanced composition with rich, full values.

ADDITIVE AND REDUCTIVE DRAWING: Erasers vs. Charcoal

Stevie Young

In addition to everything covered to date, the objective last night was to explore use of the "eraser" as a drawing tool. The white eraser is your "work horse". It can remove or at least diminish bold, dark areas of value. The kneaded eraser may be shaped but more importantly you may "stamp" with it lightening tonal areas. In the drawing above, Stevie has very effectively used both of these erasers to create the highlights but even more impressive is the textural qualities. The values of this drawing are rich and contrasting illustrating a great sense of volume and dimension. She has accurately addressed the categories of light and local values of the two objects. In addition, the two objects exhibit different textural compositions of wood and metal achieved primarily with the eraser complemented with additive charcoal.

LOCAL VALUE

Stevie Young

Last night students made drawings addressing the Local Values of three objects as well as the Categories of Light. Local Value refers to the quantity of lightness or darkness an object exhibits. The still life consisted of one dark object, one medium value, and one light. Stevie's drawing above is well balanced to the proportions of the page. She has very skillfully handled the graphite medium addressing the variations in tone concerning light and surface reflections alike.

Grant Hanson

Grant's drawing exhibits a much starker quality of light due to the high contrast in value. The black funnel is particularly well drawn. He has very effectively rendered the categories of light while maintaining the integrity of the local value.

CATEGORIES OF LIGHT: Curvilinear vs. Rectilinear Forms

Jane Collier

Heather Monnot-Griffith

Last night began with value scales limited to six values, basically reflecting the six categories of light. The two drawings above are indicative of the small still life arrangements consisting of one curvilinear form (the teapot) and one rectilinear form (the block). Jane's drawing at the top is very well composed exhibiting a high key value range with very complementary contour accents. Heather's drawing below has a broader value range complemented with bold contours. Where Jane has cropped the image, Heather has opted for a centered image balanced by the dark negative areas and cast shadows.

PERSPECTIVE AND COMPOSITION

Guendalina Codella

 Friday morning began with perspective drawings of blocks in one and two-point linear perspective. Guendalina's drawing above exhibits a well balanced placement of the blocks with well rendered contours and strong textural elements. The tree-like mass in the background effectively accents the blocks while bringing depth and visual interest into the space.

Natalie Pagani

In the afternoon, students applied the principles of linear perspective to objects while considering ways in which to activate the negative space. Natalie has rendered the plumbing pieces in a bold and graphic style. The values are almost hyper-realized in their clarity which is intensified by the white stroke around the exterior of the form. The cloudy smudges and blemishes are ambiguous, simultaneously suggesting a cast shadow as well as a sense of atmosphere.

COMPOSITION: Dividing the Picture Plane

Jane Collier

Last night students made drawings of tools and machined parts. The objective was to activate the negative areas with a single object. Jane's drawing above has divided the picture plane into a series of large and small triangles. The zig-zagging clippers cut across the paper skillfully engaging and balancing the negative areas against the positive.

Heather Monnot-Griffith

Heather's drawing of the hand-mixer thrusts into the upper right corner but swings back around to the handle and then the blades. Take special note of the additive and reductive mark-making within the gear and handle. This image is almost resolved in its unfinished state. In fact, it may be overdrawn and closer to resolution if more of the tool was omitted. The ol' "Less is More" concept. In other words, the theory of closure, which allows the viewer to complete the form in their imagination with a limited amount of information.

BUILDING A BETTER BOX: One and Two-Point Linear Perspective

Monday night's class began with a demonstration of One and Two-Point Linear Perspective. The principles of perspective are: 1. Establishes location of the viewer (i.e. above, below, left, right, etc.) 2. Parallel lines (diagonals) appear to converge, receding to a point (vanishing point) located on the horizon line (eye level) 3. Objects and their parts diminish in size as they recede 4. Objects become more parallel to the horizon line as they get closer to it (ex. tops of objects become narrower).

The low key value range exhibited in Riley's drawing above unifies the space while evoking an atmosphere of mystery and calm. The composition moves left to right slowly alternating with the angle of the blocks. The line and tonal technique are very complementary throughout the composition and he has even accented the closest corners with a white line (reductive) to emphasize the edge. The only awkward area is the top of tallest block which is leaning towards us placing it with a slightly higher "eye level" than the other blocks. This is easily remedied by adjusting the diagonals to be more parallel to the horizon line (or the top of the paper).

IDEAL SOLIDS and PROPORTION

Edison Xiong

Friday morning began with a series of the Ideal Solids. Edison's drawing above combines contour lines and tone. The line work is very complementary to the tonalities. There is a gentle balance between breaking the line to accentuate highlights while darkening areas to complement the highlights and light areas. Furthermore, observe how his use additive and reductive mark-making follows the cross-contours of the forms.

Siobhan Williams

In the afternoon, students made proportional studies of single objects and later groupings. Siobhan has clearly illustrated the locations of ellipses and the various ideal solids. Also note how she has used a bolder, darker line quality to advance the forms in the foreground.