IMAGINARY SPACE

Last night the class completed their Two Point Linear Perspective drawings of an imaginary space.

Dao Jones

 Dao has effectively used repetition and similarity throughout his design to direct a rhythm and movement.

Gretta Collaso

 Gretta's drawing is essentially a series of blocks that work much like "paths" to lead the eye. In addition, her placement of the three darkest tonal areas sets up a triangular rhythm.

John Larroque

 John has created a space filled with potent props that suggesting a surreal narrative. The large extreme scale changes, pyramid forms and checkerboard pattern are reminiscent of "In Through the Looking Glass."

Sam Wingfield

Sam has created a very quiet and lonely space with soft, somber lighting rendered in loose, cross-hatched strokes.

LINEAR PERSPECTIVE: Imaginary Space

Last week both classes worked on their Imaginary Space projects. We will continue working on these drawings this week.

TWO POINT LINEAR PERSPECTIVE: Imaginary Space

Last night the class began working on the Imaginary Space drawing. Above are the instructions for the basic layout of the structure. Tomorrow we will discuss basic geometric forms, arches and stairs.

COLOR: Still life, Dice and Balls

Apollonio Fontanilla

Devon Ste. Marie-Rubin

Lyric Croxford

Friday morning began with a discussion on Color Schemes and a still life consisting of colored dice and balls. In the afternoon, students made their own still life arrangements or drew from bones. Apo's drawing (top) exhibits a primarily complementary color scheme. He has embellished and manipulated the three objects giving them life by animating and exaggerating their forms.
Devon has very skillfully rendered a skull employing temperature changes with the colors. The skull is very warm with the yellow and white hues. The interior of the skull radiates heat with a fiery red glow.
Lyrics drawing (bottom) is very surreal and dreamy. The colors are muted and the light is soft, appearing moonlit. She has balanced the composition by dividing the space into groups. The placement of the eyeballs establishes a triangular movement.

COLORED PENCILS: Still Life

Graham Metcalfe

Joanna Alvarez

Shiho Nakagawa

Last night students drew from their own still life arrangements. Graham's drawing (top) is very well balanced (left/ right, top/bottom) and well proportioned to the paper. The forms are very well rendered addressing not only the light patterns but the various color patterns within each individual object as well. Joanna's drawing (middle) is very graphic. The lines are bold and sharp. The value range has been reduced to the most contrasting tonalities and rendered with rich colors. Shiho's drawing (bottom) is another than has skillfully rendered the light and color patterns. The forms are three-dimensional and set well within the space. Remember the key to successful color drawings is to be aware that objects and not just a single hue. A red object may exhibit multiple red hues, pinks, violets and even blue hues.

COLORED PENCILS: Dice and Balls

Benjamin Farren

Colin Metcalfe

Last night the class began working with colored pencils. The drawings were initiated by drawing all the white areas first and then adding color. Ben's drawing (top) illustrates a stage-like setting. There is a sense of expectation and suspense as if something unexpected is about to happen. Colin's drawing (bottom) is a very dynamic and energized rendering of the still life with radiating and swirling marks complemented by a bold complementary color scheme.

INK: Tondo Compositions and Subjective/ Space

Jim Paschal

Sabin Thapa

Friday morning began with ink drawings applied to a tondo composition. Jim's drawing above exhibits a strong, crisp light rendered with hatching and cross-hatching. Sabin's drawing, below it, is a very focused and zoomed-in composition. The negative areas are especially participatory in the arrangement. Again the drawing illustrates hatching techniques with a full range of values. Notice the repetition of the half moon or quarter round shapes throughout.

Apollonio Fontanilla

Lyric Croxford

In the afternoon, the class drew from a large still life arrangement. Apo's drawing (top) is rendered in  cartoonish contours with organic, wavy hatches addressing the wrinkles and surface variations of the objects. Lyric's drawing (bottom) is an illustrative and objective approach to addressing the light patterns and various textures. The side view of the still life allowed for a deeper rendering of the space and the ability to apply atmospheric perspective.

INK: The Subjective and Space

Amy Harris

Randall Little

Last Wednesday the class drew from a large still life arrangement. The objective was to employ a more subjective style and address the space.  Amy has focused on the contours with minimal hatching and stippling to render the surface of the objects and the background. Her attention to the space is frontal, stable and direct. Randall's drawing in contrast has more depth and dynamics because of the  diagonals and high contrasting values.

INK: Tondo Compositions

Crysta Maguire

Gretta Collaso

Martin Little

Last night the class made still life drawings within a circular format aka the "Tondo." The circular format creates a very focused and zoomed in appearance. The movement around the format is fluid in comparison to the abrupt turns of the standard rectangle or square. This creates for interesting contrasts against vertical and horizontal lines within the image. In addition, it forces the artist to make new considerations of the negative areas.

INDIA INK: The Exquisite Corpse and Bones

Last Friday began with a game of the "Exquisite Corpse." The class explored the various mark-making techniques using pen and ink. Notice in the drawings below the techniques of hatching, cross-hatiching and the use of patterns. In addition, the middle section of the top drawing is drawn with a brush.

In the afternoon, the class made drawings from bones. Ruth's drawing of an antler illustrates the hatching and cross-hatching techniques. She has very skillfully used light and dark rhythms to address the peaks and valleys of the surface. Notice the importance of the cast shadow to create the bend in the antler.

Ruth Hickman