COMPOSITION: Cropping

Jill

Rio

Last night we made a series of studies exploring different ways of "cropping" a single object. Students then chose the best one to develop into a finished drawing. One of the issues raised last night was the use of verticals and horizontals vs. diagonals. Vertical and horizontal compositions, like Jill's at the top, establish stability. Think about architecture. Diagonals as in Rio's drawing, are more dynamic. Placing an object on a diagonal introduces triangular negative areas into the rectangular frame. Cropping, in general, may enclose and/or divide the space resulting in more interesting and active negative areas.

VALUE: Emphasizing light

David

Dylan

Last Wednesday the class made drawings emphasizing the light patterns over volume by employing a single directional hatch or scribble technique. David has created a very dynamic composition with rich values and energetic marks that sweep across the space and around the forms. The location of similar values throughout the image establishes a rhythm that keeps the "eye" moving.
Dylan's drawing exhibits a very strong sense of light and mood. The transitions in value are very controlled as is the hatching. The limited value range has created a very unified and warm environment.

VALUE: Local Value 3

Emily

Jennifer

Ryan

Last night we continued with Value. The objective was to render three objects with three different local values; dark, medium and light. Emily's drawing clearly illustrates the three different local values. Furthermore, she has rendered each object with volume and light without employing contour lines. The edges are defined with contrasting values. Volume and light is illustrated with smooth, even gradations.
The objects are very well proportioned to the paper's dimensions in Jennifer's drawing. She has emphasized the light patterns. This is most evident in the reflections of the dark vase. In addition, the negative space is divided into two rectangles with the inclusion of the horizontal line suggesting the table edge.
Ryan, too, has divided the negative space with a horizontal line. His drawing is different in that he has used line and tone together. The two elements are very complementary, neither over powering the other, both striving to address form and volume. Like Emily's drawing, the bold values and smooth gradations illustrate the light and volume of the forms.

VALUE: Seeing the Light in White

Last night we started discussing Value: the gradations between light and dark. The objective was to render the categories of light observed on white objects. Emily has very skillfully rendered the value and light patterns with soft, even and gradual transitions from light to dark. In addition, she has energized the form with a zig-zag pattern, indicative of wavelengths or wood grain, in the negative areas.
Jennifer's drawing is more expressive with rapid cross-hatched marks to address the light and value patterns. The tonal shapes are bold and lively adding weight to the cast shadow and propelling the light value of the object forward. Where Emily's drawing is more symbolic or iconic exhibited in an open and undetermined space, Jennifer's drawing, with a background that is more about light than pattern or texture and with the inclusion of the table edge,  presents a sense of the environment surrounding the object.

PROPORTION: Sighting Diagonals

Corbin

Christian

Last night we continued addressing proportion and sighting techniques. The still life consisted of large and small blocks placed at various angles. The objective was to draw the blocks maintaining a consistent eye level. In addition to rendering the still life, Corbin has fully explored the materials and their application with additive and reductive techniques. The boxes illustrate light, texture and volume sometimes in a solid dimensional manner and others  ambiguously and transparently. Christian's objectivity is in stark contrast to Corbin's more subjective approach. Where Corbin has been expressive and inventive, Christian has observed the still life with a critical "eye" illustrating the blocks with clean, sharp contours and soft values.

PROPORTION: Sighting

Dylan

Emily

Rachel

Ryan

Last night we discussed Proportion and the measuring technique called "sighting."First the class made drawings by trying to identify the ideal solids within each object. For example, a wine bottle has a large cylinder for the body, a cone for the shoulders and another cylinder for the neck. The objective was to establish a three-dimensional armature of the objects. Important things to note in the drawings above are 1. The use of central axis lines for symmetrical objects. 2. Identify the parts (i.e. ideal solids). 3. Draw the forms transparently (see Rachel's drawing). 4. Pay attention to the negative space and relate the proportions of one object to another (see Ryan's drawing). Once the objects were drawn, students then used the "sighting" technique to check proportions and make corrections.

IDEAL SOLIDS

Dylan

Jessica

Last night we discussed the Ideal Solids; standard geometric forms found in most manufactured items. We also rendered the forms with value illustrating volume and the categories of light with atmosphere. First we drew each individual form: cone, cylinder, open cylinder, cube and sphere. We concluded the evening with a demo on materials and their application. Everyone then chose one of the Ideal Solids to draw exploring the materials and techniques. (Click the tabs above for more info on the Ideal Solids and the Categories of Light).
In the drawings above, the form was sketched out with vine charcoal. Then a base tone was applied with compressed charcoal and smeared into the surface with a paper towel. Next light areas were erased (this is called reductive drawing). From there values were readdressed with compressed charcoal and charcoal pencil.