TEXTURE: Detail Study

Michelle Reardon

Techi Brant

Last night the class made detail studies of textures. The objective was to draw the texture of the object without revealing the subject's form. Michelle's drawing above has taken a subjective approach to rendering driftwood. The image reads more like an abstract, surrealist drawing rather than trying to simulate the wood grain. Techi's drawing of animal teeth is a more objective view of the forms, values and textures.

TEXTURE: Single Object

Grace Burroughs

Travis Templeman

Last night the class began their investigations in Texture. Two things to keep in mind when making texture drawings 1. You are essentially drawing values and 2. You don't need to draw every single detail. Like all observational drawing, one should capture the elements that are most important to them rather than merely trying to copy the subject. This is the case for Travis' drawing. His subject is a pine cone but he created an interpretation of the pine cone instead of copying it. The solid shapes of value establish a well balanced design. The surface of the drawing has a simulated textural quality representing the end grain of wood or the rings of a tree.
Grace has employed a layering method with her materials. First establishing a base tone with both additive and reductive techniques. Secondly, developing the details with lines and hatch marks.

PORTFOLIOS ARE DUE

Portfolios are due for the Monday/ Wed. class this Wed. 5/6.
Portfolios are due for the Friday class this Fri. 5/8.

The List is above.
All portfolios are due at the beginning of class. Portfolios must be prepared before class and enclosed in a tote style portfolio or between two pieces of cardboard duct taped on one end. No clips. Taping your drawing pad together is an unacceptable portfolio.

PORTRAITS

Celindrea Debuck

Ezra Barbour

Last Friday the class continued working with portraits. Celindrea's drawing at the top exhibits strong handling of the materials addressing both the volumes of the face as well as the light patterns. The hair in particular is well rendered. The shape of the hair is dense and volumetric. Ezra's drawings below exhibit a more a "unfinished" quality yet are equally resolved as the drawing by Celindrea. Ezra has employed a line and tone method of drawing the portrait. The images are less about light and volume and more concerned with the essence and intensity of the expressions of the two models.