COLOR: Dice and Balls

David

Georgia

Jessica

Yesterday the class began working with colored pencils. David's drawing (top) illustrates subtle transitions in color and tone with a variety of marks and rendered values. The negative area and ground plane help draw the focus on the still life while suggesting depth.
Georgia's drawing (middle) exhibits rich, saturated complementary as well as analogous colors. The number and ball are electric and bright advancing toward the viewer. The die recedes yet is also energized and activated with a complementary green in the background to the red die.
Jessica's drawing (bottom) is primarily a complementary color scheme of orange and a variety of blues. Again, the colors are rich and bold. The mark-making in the background is a very effective contrast to the solidity of the foreground.

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.

COLOR

Last Friday the class began working with colored pencils. The first still life arrangement consisted of one die and one ball placed on a letter or number.

Ezra Barbour

The drawing above exhibits a well balanced composition with attention to the left/right placement as well as top/bottom location. In addition, the objects are well proportioned to the paper dimensions. The categories of light have been well addressed resulting in three-dimensional objects with believable sense of mass and weight.

Celindrea Debuck

Dorothy Fast

In the afternoon, students made their own still life arrangements. Celindrea's migrating dinosaurs are very well rendered with light and volume. She has effectively applied the Distal Cues where appropriate.
Dorothy's haunting structure of antlers looming over a figure and die evokes a cold, wintery scene. The tangled structure and cast shadows add to the image's sense of menace. The combination of colors skillfully complements the subject matter.

COLOR: Still Life

John Burgess

Last night the class made drawings from their own arrangement of 3 to 5 objects. They were free to multiple, distort and embellish the objects in any way. John has created a composition using repetition, scale change and atmospheric perspective. The pin cushions introduce the composition and establish a rhythm throughout the space. The areas of blue make a secondary pathway. The image reads like an astronaut lost in a surreal solar system. Scrambling, yet restricted by zero gravity as he tries to collect his nightmarishly large, human-made objects that have escaped from the loading bay. 

COLOR: Dice and Balls

Morgan Caricchio

Sarena Dunn

Last night students began working with colored pencils on black paper. Each student had a still life of one die, one ball and a letter or number to hold the ball in place. When working on toned paper of any color or value, one should take advantage of what that tone provides. On black paper, you are working from dark to light. The opposite of working on white paper. The shadows are already present, you just need to create the lighter tonalities around them.
Morgan's drawing (top) has a more open and grainy application of the pencil. Much more of the paper is revealed through her marks than in Sarena's drawing (bottom). Sarena has heavily applied the pencil in the objects with a more open application in the table and background. Both drawings exhibit a strong, bold and dramatic sense of light. This is a benefit of working on black paper. In addition, both students have employed layered and expressive marks that add dynamics and energy to the compositions.