COMPOSITION: The Distal Cues

Dylan

Jennifer

Ryan

Last night the class made drawings employing the Distal Cues (more info on that in the tab above). The objective for these drawings was to create a composition addressing the Distal Cues and touching 3 to 4 edges of the paper. Notice in Dylan's drawing the absence of pure white and black. Working primarily with a midtone value range creates a very unified and calming, somewhat somber atmosphere.
In contrast to Dylan's, Jennifer's drawing is very dynamic with a full range of values and energized and active mark-making accentuating the volume of the forms and suggesting turbulence in the background.
Ryan has very effectively used value for dramatic effect. The objects appear as if they are about to be pushed forward by an incoming dark mass. The dynamics of the values is increased by using extreme contrasts of white and black juxtaposed against each other. The forward thrust is enhanced by the tilt of the cube.

DISTAL CUES

David Covarrubias

Last Thursday the class made drawings of the Ideal Solids with an imaginary, three-dimensional space. The directions were to use all five forms, addressing the light and to engage with 2 - 3 edges of the composition. In addition, students were to use at least five of the six Distal Cues (see tab above). The drawing above shows the objects cropped on three edges. Furthermore the objects overlap, are placed in diagonal relationships and are proportionate to one another. The top of the cube in the background is slightly tilted forward. Remember as an object approaches the "eye level" the top plane will become more parallel to it. In other words, the top will not show as much.

VALUE: Distal Cues and Subjective Use of Value

Linda Fleming

Priyesh Shrestha

Last Friday morning began with a discussion on the Distal Cues (see info above). Linda's drawing, top, illustrates overlapping forms, cropped to engage with the edges of the composition and rich values addressing the cross-contours and light.
Priyesh's drawing illustrates a low-key value range as opposed to Linda's high-key values. Again, the forms are overlapping and engaging with all four sides of the composition strengthening the negative areas.

Beni Rodriguez

Devon Ste. Marie-Rubin

In the afternoon, we discussed the various applications of the element Value. The project was to use value subjectively. Beni's dynamic composition is rich in value with advancing lights and receding darks. Notice how he has accented some of the darkest elements with a white line along the contours.
In contrast, Devon's drawing is very fluid, like viewing a rolling landscape on an afternoon drive. The values are well balanced and complimentary to the rhythms of the shapes. In addition, some of the tonalities are combined with a short hatch adding an increased textural element.

DISTAL CUES: Composing with the Ideal Solids

Graham Metcalfe

Last night we discussed the Distal Cues and their application for creating depth within a composition (see tab above for more info). Students then made drawings on hand-toned paper employing both additive and reductive drawing techniques. The objective was to pay particular attention to the negative space trying to engage with two to three edges of the paper. Notice in Graham's drawing above that he has engaged all four edges (shadows count). In addition, the objects are very well proportioned and fill the page making the negative areas between the objects relevant and more active in the overall balance and design.

DISTAL CUES: Composing with Ideal Solids

On Friday class began with a discussion of the Ideal Solids and rendering the categories of light. After the lunch break we used the aforementioned forms to create images addressing the Distal Cues, categories of light, texture and mood. The images below illustrate two very different settings in light and atmosphere. The top image exhibits the cold, stark lighting of a wintery night. The bottom image is a warm, hazy afternoon light. In addition, both drawings effectively use diagonals within the location and placement of the objects. Eduardo has created a zig-zag up the center of the composition like a slithering snake whereas Nicole has an implied diagonal between the two spheres and triangulation with the placement of the cylinders.

Eduardo Gonzales

Nicole Stender

DISTAL CUES: Composing with the Ideal Solids

Amelia Ketzer Dean

Last night we covered the six Distal Cues for creating depth within a composition (see menu above for more info). Amelia has created a very rich and mysterious image. The value range consists of mostly low key values suggesting a dark environment possibly naturally illuminated by the moon shining through a window. Her mark-making is expressive but does not dismiss the cross-contours of the objects. The table edge activates the negative space while adding a sense of the unknown leaving the viewer to wonder what lies down below.

DISTAL CUES: Ideal Solids

Erin Deacon

Last night the class made a series of quick, gestural composition studies using the five Ideal Solid forms (cone, sphere, cylinders and cube). After completing the quick studies, the class made one large scale drawing on hand-toned paper. The objective was to employ the distal cues and to try and touch 3 to 4 edges of the paper. Erin's drawing above is well balanced and effectively employs the concepts behind the distal cues. In addition, she has skillfully used additive and reductive techniques to create textural as well as volumetric forms.

MIDTERM DRAWINGS

Here are just a few examples of the Midterm drawing exam. The objectives were to address: 1. Composition 2. Distal Cues 3. Value 4. The Categories of Light. All of theses drawings exhibit well balanced compositions with a full range of values and strong attention to the categories of light.

Jane Collier

Kate Donovan

Stevie Young

Gianna Davy

VALUE: Additive and Reductive Drawing

Gianna Davy

Friday morning began with a still life of two objects. The objective was to work reductively as well as additively. In other words, to use the eraser as a drawing tool. Gianna has very skillfully combined the two techniques. Line and value are unified in their suggestion of volume and depth. Her handling of the space and lighting have effectively created strong atmospheric quality allowing the still life to set into the environment. In addition, the objects are texturally rich clearly expressing the different surfaces.

Kate Donovan

In the afternoon, we added the Distal Cues to our objectives. Kate's drawing is very expressively and painterly in her handling of the materials. Notice how the materials are applied in layered, sweeping motions. The values again are rich and contrasting. Furthermore, she has very effectively used "cropping", engaging with all four sides of the paper. It's subtle but take note of how the values diminish as you move from the ceramic pot in the foreground, to the paint can in the middle and lastly to the chicken feeder in the background.

VALUE: Light and Dark Rhythms cont.

Jay Odenthal

Lauren Tokunaga

Last night was a continuation of Monday night's project. The objectives were to 1. Employ the Distal Cues 2. Try to engage with at least 3 edges of the paper and 3. To establish similarity through value patterns.
In Jay's drawing (top) the bold, black verticals move in up and down across the page. He has pushed the materials around on the paper, adding and reducing, much as an expressive painter might do. The right side of the composition is particularly effective in bringing together elements in focus and out.
Lauren (bottom) has established a triangulation between the hole in the upper left (water can), down to the block and up to the hole (ceramic bowl) on the right. Again the right side of the composition is particularly well drawn in the area around the white bottle, block and ceramic bowl. The values are rich and contrasting and the line quality strengthens the contours and structure.