5/8 TEXTURE: Continuous Field

Stephany Valencia

Students continued with texture drawings. We discussed the concept of a continuous field composition. A continuous field composition has no horizon line; the image extends outside the format on all four sides. Although the drawing above is not a continuous field it is an intriguing and surreal rendering of a magnolia seed pod. The combination of tone and cross-contour lines addresses the texture while adding volume and depth as well.

3/30 Jungle Project Finish

Tuesday's class completed the "jungle" drawings.  Jonathan Florence's drawing is another great example of the assignment.  The composition is full and continuous touching all edges of the paper.  The value range is wide and varied.  Furthermore, the value patterns are well established.  The movement between the black shapes on the left side of the composition complement the black shape within the eye of the skull.  Notice too that the shapes are larger at the bottom of the composition and get smaller as they move towards the top.

Ashley Duncan's drawing is rich with patterns and textures.  The contrasting textures of the feathers, coral (background) and the kelp, driftwood and shells are all complementary to the "beach comber" theme.  The value range is generally more limited focusing on the high key values (1-5) suggesting a more cheerful tone.  Additionally, the diagonal and twisting forms create a very fluid and lively composition.

3/24 Jungle Project Cont.

Here are three drawings from Wednesday night.  This drawing by Megan Muller uses "positive/ negative" relationships very successfully in the background leaves.  The dark silhouettes add depth to the space while establishing a strong contrasting value for the objects in the foreground. Furthermore, the balance achieved by the asymmetrical placement of the sunflowers and their scale change establishes a strong focal point while complementing the depth established by the background forms.

This texturally rich drawing by John Teran is more symmetrical with its placement of the forms.  The establishment of foreground, middle ground and background is achieved by changing scale while using forms with contrasting textures. The mingling of the grass with the skull  joins foreground and middle ground pulling the "eye" into the composition. 

This stunning drawing by Justin Edwards makes great use of "design principles".  The centrally located skull holds the composition together while the triangulation of the abalone shells establishes dynamic angles.  The repetition of the thistles and melon shapes lead the "eye" in a criss-cross movement while the feathers draw the "eye" back in space.