VALUE: Rendering Light

Jessica Baumann

Savannah Church

We've discussed in class how an artist may emphasize light over volume but can't have one without the other. This is due to the fact that light patterns or values are located where they are because of the structure or volume of an object. By applying marks that ignore or even contradict the cross-contours of an object emphasis is placed on the light patterns. The drawings above emphasize the light over volume. Students chose one of two techniques to employ; scribble gesture or a single directional, diagonal hatch. Both drawings have used dark values in the background to contrast against the lighter tonalities within the objects. In addition, take special note of the manner in which gradations are applied to the forms addressing the subtlety of volume.

VALUE: Local Value and the Categories of Light

Angela Bald

Georgia Bourdens

Yesterday the class began working with graphite pencils to address the categories of light observed on all white objects. A gray scale was used to help with the comparison of values. In Angela's drawing at the top,  the exaggeration of the vase texture, the ghostly cast shadow and the shroud-like negative space create a surreal and haunting atmosphere. Georgia's drawing is a more objective rendering of the still life. She has placed great attention to the surface character of the objects as well as the light patterns. Her rendering of the negative space accentuates the lighter areas of the vase.

SUBJECTIVE VALUE

David Covarrubias

Erik Dellabruna

Harrison Nixon

Yesterday the class completed the Subjective Use of Value drawings. David's drawing at the top exhibits a totem-like sculpture of representational and abstract shapes and forms. The values are rich, balanced and varied. Notice how the shapes are locked in the center and appear to standout against the background.
Erik's drawing illustrates a surreal landscape as if one is peering out through the mouth of a cave. The overlapping shapes and rich, black values help project the depth and atmosphere of the drawing.
Harrison's drawing is a dynamic composition reminiscent of a folk tale. He has effectively established multiple rhythms by repeating the bird feet and beaks as well as similar values and textures.

VALUE: Subjective Use of Value

Erik Dellabruna: work in progress

Yesterday the class began exploring the element Value in depth. Value refers to the gradations between light and dark. For this project, the class initiated drawings through "automatic drawing," a technique employed by the Surrealist artists of the 1920's. The objective is to create an enclosed composition of large and medium shapes. Once the sketch is complete, the shapes are filled with varying values of light and dark as well as different additive and reductive drawing techniques with charcoal and erasers. The drawing above has a very good foundation. The direction to explore now would be to vary the textural qualities more.

EYE LEVEL

Georgia Bourdens

Luke Mello

Yesterday, we discussed one and two-point linear perspective and the importance of "eye level." The class made drawings of large blocks presenting a perspective challenge. The drawings were rendered in free-hand. The two drawings above have effectively rendered the space maintaining a consistent and believable eye level across the forms. Take note that the eye level is at the top and outside of the paper.

PROPORTIONS AND "SIGHTING"

Alfredo Rodriguez

 Yesterday the class began with a series of drawings addressing the proportions of a wine bottle. The objective was to accurately render the proportions by identifying the ideal solids within the structure of the form. Before moving onto more complex forms, the class made a drawing of two bottles. One was centered while the other was cropped. The objective here was to emphasize the negative space, in particular, the space between the bottles.

Alfredo Rodriguez

 The next couple of drawings illustrate the identification of the ideal solids within the forms. The purpose is twofold. First, building the structure will create a more three-dimensional form and aid in placement of the values. Second, simplifying the forms into root shapes and the ideal solids will speed up the sketching process by keeping the drawing flexible rather than trying to be too precise too soon.

Eddie Ortiz

Savannah Church

Savannah's drawing illustrates the angles and planes of rectilinear forms. As with curves, when rendering angles, it helps to compare the angle to straight base lines and axis lines. In addition, you may use a straight edge or pencil to visually line up and compare the angle on the still life transferring it to your drawing paper.

DISTAL CUES

David Covarrubias

Last Thursday the class made drawings of the Ideal Solids with an imaginary, three-dimensional space. The directions were to use all five forms, addressing the light and to engage with 2 - 3 edges of the composition. In addition, students were to use at least five of the six Distal Cues (see tab above). The drawing above shows the objects cropped on three edges. Furthermore the objects overlap, are placed in diagonal relationships and are proportionate to one another. The top of the cube in the background is slightly tilted forward. Remember as an object approaches the "eye level" the top plane will become more parallel to it. In other words, the top will not show as much.

IDEAL SOLIDS

Desiree Torres

Miguel Jimenez Ochoa

Last Thursday the class made drawings of the five Ideal Solids (see tab above) exploring materials and the techniques for rendering light and form. Desiree's drawing is a realist rendering of the cube form and the light striking it. Notice the absence of bold contour lines. Edges are established by juxtaposing contrasting values.
Miguel has used subtle contours as well. The gradation across the cone is smooth and gradual. In addition, he has implied a horizon line and created a strong sense of atmosphere around the form.