 |
| Kate Donovan |
Friday morning began with blind contour studies of small maple leaves. The page was completed with slow contour studies of organic forms and tools. The objective was to build "eye-hand" coordination and fluid, confident line quality. Notice how the layering of objects creates a sense of depth in the composition. At the same time, negative areas are strengthened by closing them in when the edges of objects are allowed to touch.
 |
| Gianna Davy |
Friday afternoon began with
cross-contour studies of gourds.Notice the character of the line as it moves across the surface addressing the topography of the gourd. As the planes recede or turn away from us the lines get closer together creating a darker value.
 |
| Susan Lazzareschi |
Next, we made
continuous-line drawings addressing structure. Notice how the gourd has been divided forming a cage-like rendering of the volumes. The accenting on the right under the "chin" of the gourd and at the base add tension and a greater sense of weight.
 |
| Christian Curtis |
Then we made
scribble gesture drawings. Each drawing has its own sense of texture depending on the rhythm and movement of the lines.
Scribble gesture drawings should have a sense of mass as well as light.
 |
| Isabella Miranda |
We finished the day with a series of
mass gesture drawings, starting with one gourd and then small groups. The
mass technique captures the "mass" of the object and the light through broad, tonal sweeps. Notice the way the volumes advance and recede with the placement of darker or lighter values. In general, dark values will add weight to a form and cause "planes" to recede. The neck of the gourd is pinched and further away than the belly of the gourd so it makes sense to darker this area. The head and belly are advancing areas so lighter tones are applied.
