HOMEWORK #8 TEXTURE: Continuous Field

Mike Koonce

In a 4 x 5 in. frame, in your sketchbook, using graphite pencils, draw a continuous field composition of an actual texture (from a real object observed). Your image should only exhibit the details of the texture not the edges of the object. In the image above, the edge of the leaf is out of the image area. It may help to light your subject with a single light source to cast shadows from all the peaks and valleys of the texture. Remember, texture drawings are essentially value drawings. Contrast and gradations are very important for establishing visual interest as well as depth.

5/10 TEXTURE: Single Subject, Continuous Field and Portfolios

Philip Elias

Class began with a lecture on the categories of Texture: 1. Actual 2. Simulated 3. Symbolic 4. Invented. From there the class made single subject studies of variously textured objects. The goal was to render the texture but to also capture the physical character of the form. For instance, Philips drawing of an oyster shell exhibits the hard and rough nature of the shell surface and structure. Throughout the drawing are subtle, hair-line contours and tonalities illustrating the surface and light patterns.

Shae Hudson

In the afternoon, we discussed the compositional strategy of Continuous Field. A continuous field composition is one where the image extends out of the format on all four sides. Shae's drawing of drift wood has taken on a life of its own totally removed from its source. He has created an abstract and distorted image of organic forms sunken into and stretching across a dune-like landscape. The soft touch and subtle transitions in value bring a delicacy to the drawing that is complemented by its 4 x 5 inch dimensions.

10/27 "The Jungle" continued

The class continued to work on the "Jungle" drawings from Monday evening.  Adam Bollman's drawing above illustrates the limited sense of depth and textural qualities typical of this project. The large, sweeping bone structure divides the composition into multiple sections that are then filled with differing textures and patterns as well as the solid black tones. In addition, the sun flowers help to emphasize the a sense of "flatness" by directing the viewer's attention back to the surface of the paper.

3/22The Jungel (Light and Dark Rhythms)

Monday evening we began the "Jungle" drawings.  The objective of this project is to use value patterns and textures to create a sense of rhythm and movement throughout the composition.  The compositional arrangement should be one that is continuous, engaging with all sides of the paper. When laying out the composition, begin with a large form that covers half or most of the page.  Next address the corners by creating groupings and clusters of other forms.  The forms may repeat and change scale across the composition to direct to viewer's eye.  Sketch out the entire composition before applying any tonalities.  Be sure to engage with the edges, use overlapping, cropping and change of scale.  When you are ready to apply tonalities pay attention to the value patterns and design aspects of your composition.  In other words, follow the demands of your composition by being inventive and interpreting your subject rather than merely translating visual information.  The demo drawing above illustrates the "process" of developing the image and is therefore "unfinished".