INDIA INK: Wash Drawings

Chani Spitzer-Christensen

Ray Colby

Last night the class continued with wash drawings. Chani's drawing is a very abstracted, cropped view of the still life. The shapes are fluid and organic. The values are applied in flat tones filling the shapes and locking them into place like puzzle pieces. Ray has also opted for a very flattened and graphic rendering of the forms. The volumes have been reduced to a minimum of dimension focusing more on the individual planes rather than the whole.

INK: Wash Drawing

Megan Svendsen

Ray Colby

Last night the class began working with wash. When new to this technique it is best to choose a subject with clearly defined planes, like blocks, boxes, paper bags, etc. The approach is simple. 1. Mix a solution of ink and water for the lightest gray tone (mixing ink is like all other mediums, "dark into light", in other words it is preferable to add ink to water, not the other way around). Apply this wash to the entire surface except the areas you wish to be white. Allow to dry (a hair dryer will speed things up.) 2. Using the same wash or with a bit more ink added, apply the next wash to everything except what is to remain white and the first gray. 3. Continue layering washes until you reach the desired tonalities. Note: It is important to allow the washes to dry completely between layers for the utmost clarity and definition of tone.

INK: Tondo or Circular Formats

Ashley Garr

Ian Moon-Wainwright

Megan Svendsen

Last Wednesday students had the option of working within a circular format (tondo) or a rectangle. The circular format creates a more intense focus on the objects as well as changing the dynamics of the negative space. Notice how the approach of touching or activating two to three sides of a format still applies. Ashley's drawing at the top is rich with contrasting values as well as exhibiting strong attention to the local values. Ian has opted for the rectangle and emphasizing the light patterns instead of the volumes of the forms. And Megan has applied the hatching technique at various lengths achieving even gradations. Of particular note in her drawing is the background pattern complete with a gradation.

WET MEDIA: Pen and Ink

Last night the class made drawings from a single object. The objective was to continue exploring the techniques of pen and ink, specifically hatching. The first thing to note in the drawings below is the placement. Did the student decide to place the object at an angle? Too often objects are observed straight ahead which may not be the most interesting or dynamic composition. This works in Chani's drawing because the object is mostly round. A diagonal placement is especially effective in Ashley's drawing because of the framework of the lantern. Second, take note of the direction each student has applied the hatches addressing the cross-contours and planes of the objects as well as the light and local value.

Drew Horton

Chani Spitzer-Christenson

Ashley Garr

WET MEDIA: Pen and Ink

Chani Spitzer_Christenson

Gavino Baccei

Megan Svendsen

Last Wednesday the class made ink drawings from bones. Chani's drawing at the top primarily illustrates the hatch technique with both vertical and horizontal cross-contours. Gavino's mark-making, in the middle drawing, addresses both value and texture. And lastly, Megan's drawing is rendered with the stipple technique. 

MIDTERM

Last week the class worked on the Midterm drawing while I reviewed portfolios one on one.

Alondra Lugo

 Alondra's drawing is proportioned well to the paper. The values are rich illustrating local value as well as light. Most striking is the manner in which she has rendered the background with long diagonal hatches.

Ashley Garr

 Ashley has very skillfully framed the still life considering the proportions of the objects as well as the cast shadows. Local values and light are very well rendered. Even the darkest objects exhibit a full range of value and light patterns.

Gavino Baccei

Gavino has employed a high key value range yet the light is strong and the objects are dimensional. Like Alondra's drawing, it is the mark-making that gives this drawing energy and dynamics.

VALUE: Mood

Ashley Garr

 Ashley has created a very well balanced composition engaging with all four sides of the paper (the shadow is cropped on the bottom right). The objects are rendered with volume and texture. The light and mood of the image is quiet and somber. In addition, great attention has been given to all of the negative areas.

Megan Svendsen

 Megan's drawing is a bit noisier in comparison to Ashley's. The space is alive and stormy. Again, this is attributed to the layered mark-making. The values are rich and the forms are dimensional. But the real attraction of the drawing is her rendering of the negative spaces in between the objects and the background.

Michelle Brazis

 Michelle too has managed to activate all four sides of the composition. Her cropping of the still life has created a series of diagonal relationships between objects of similar value. Notice in particular the triangulation of the white objects.

Molly Gallagher

Molly has not only engaged all four sides of the composition but she has also combined the application of the materials effectively. First, the base values of all the objects is established and then the pencil is used to address texture and the cross-contours of the forms.