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.

IDEAL SOLIDS

Dylan

Jessica

Last night we discussed the Ideal Solids; standard geometric forms found in most manufactured items. We also rendered the forms with value illustrating volume and the categories of light with atmosphere. First we drew each individual form: cone, cylinder, open cylinder, cube and sphere. We concluded the evening with a demo on materials and their application. Everyone then chose one of the Ideal Solids to draw exploring the materials and techniques. (Click the tabs above for more info on the Ideal Solids and the Categories of Light).
In the drawings above, the form was sketched out with vine charcoal. Then a base tone was applied with compressed charcoal and smeared into the surface with a paper towel. Next light areas were erased (this is called reductive drawing). From there values were readdressed with compressed charcoal and charcoal pencil.

IDEAL SOLIDS: Class cancelled

Unfortunately, I needed to cancel class light night. An action I do not take lightly. What we would have done and will do Wednesday evening is address the Ideal Solids (standard geometric forms found within many manufactured items). We will also discuss light and form (i.e. rendering an object three-dimensionally with shading).

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.

IDEAL SOLIDS

Desiree Torres

Miguel Jimenez Ochoa

Last Thursday the class made drawings of the five Ideal Solids (see tab above) exploring materials and the techniques for rendering light and form. Desiree's drawing is a realist rendering of the cube form and the light striking it. Notice the absence of bold contour lines. Edges are established by juxtaposing contrasting values.
Miguel has used subtle contours as well. The gradation across the cone is smooth and gradual. In addition, he has implied a horizon line and created a strong sense of atmosphere around the form.

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.

PROPORTIONS: Identifying the Ideal Solids

Dylan Murdoch

Emma O'keefe

Last night we discussed Proportions and the measuring technique called "sighting". The first thing to consider when addressing the proportions of things is style and genre. The proportions for cartoon characters is very different than the those of realistic or even idealized proportions. That said, our objective was to develope accurate proportions of the still life objects. Dylan's drawing (top) effectively relates and compares the various parts of the vase. Notice his use of vertical lines enclosing the negative space. Emma's drawing (bottom) reveals a sphere located within the structure of the pitcher. Locating and rendering the ideal solids will increase your drawing speed, because they are easier to draw, and strengthen the volume because they help define structure and placement of values.

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.

IDEAL SOLIDS

Last night the class made drawings of the Ideal Solids (standard geometric forms found in many man made objects and some from nature). We also addressed the categories of light to add volume to the forms. The last drawings of the evening explored the tonal and textural applications of the charcoal and erasers through additive as well as reductive drawing techniques.

Techi Brant

 Techi's drawings both exhibit a strong use of linear as well as tonal applications. She has also worked with the eraser to reduce the tones and create white marks. Notice her attention to the cross-contours in the direction of her marks most evident in the cone.

Amy Macinnis

 Amy's drawing illustrates a more realistic approach in the absence of dark contour lines. Instead the planes (or sides)  of the cube are defined by using white lines as highlights or juxtaposing a dark value against a lighter value.

John Burgess

John's cylinder exhibits strong textural qualities as well as addressing the categories of light. Again attention is given to the cross-contours by curving the tonal sweeps around the form.

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.

IDEAL SOLIDS

Jin Albrecht

Last night we discussed ellipses (circles in perspective), planar analysis, the categories of light and the Ideal Solids (standard geometric forms found in most objects). The Ideal Solids are: cone, sphere, cylinder, open cylinder and cube. In addition, we talked technique, additive tonal drawing with the charcoal sticks as well as pencils and reductive drawing with the erasers. Jin's drawing of a cylinder illustrates additive tonal techniques addressing the categories of light with reductive drawing (using the eraser) as well. Furthermore, the contours have been emphasized for greater volume. Check the tabs above for more info on the Ideal Solids and the categories of light under Value.

IDEAL SOLIDS and PROPORTION

Edison Xiong

Friday morning began with a series of the Ideal Solids. Edison's drawing above combines contour lines and tone. The line work is very complementary to the tonalities. There is a gentle balance between breaking the line to accentuate highlights while darkening areas to complement the highlights and light areas. Furthermore, observe how his use additive and reductive mark-making follows the cross-contours of the forms.

Siobhan Williams

In the afternoon, students made proportional studies of single objects and later groupings. Siobhan has clearly illustrated the locations of ellipses and the various ideal solids. Also note how she has used a bolder, darker line quality to advance the forms in the foreground.

THE IDEAL SOLIDS

Naomi Lehr

Last night students made studies of the Ideal Solids. Although these forms are found in most objects, they too have "root" shapes. First start the cone as a triangle and then add the ellipse to the base. Cylinders start as rectangles or squares with ellipses applied at top and bottom. Once the structure is complete the categories of light may be addressed. Remember when applying tonalities, you will get the greatest sense of volume and three-dimensionality with a single light source and strong contrasting values. Lastly remember that rectilinear forms (cubes, pyramids, etc) will have abrupt changes into value moving from one plane to another whereas curvilinear forms (spheres, cylinders, etc.) should exhibit smooth, even gradations from light to dark.

IDEAL SOLIDS AND DISTAL QUES

Katy Brown

On Friday morning students made studies of the five Ideal Solids addressing the categories of light. Notice how the smooth rendering and strong contrasting values in Katy's drawing above creates a strong sense of volume but also suggests a metal-like surface on the forms.

Angelica Cortez

In the afternoon, students made compositions with the solids employing the Distal Ques. Click the tab above if you missed the lecture notes.  Angelica's drawing illustrates a fairly deep sense of space moving straight back from sphere to sphere and crossing with an implied diagonal of cylinders. The broad, wavy strokes add a turbulent quality like a sand storm. Although she could balance the darks of the cone and sphere in the foreground more on the right side of the composition, the tonal range and gradations are very complete and well drawn.

DISTAL QUES

Patty Camara

Last night students made landscape compositions using the Ideal Solids and employing Distal Ques. The DQ's are six tools for creating the illusion of depth within an image. See the tab above for a complete description.
Patty has skillfully employed the DQ's while also creating volumetric forms and a strong sense of light. Her drawing seems to be taking place under a moon lit sky while the diminishing proportions effectively creates a deep sense of space.

IDEAL SOLIDS

Nicole Tabor

Last night, students made studies of the Ideal Solids - standard, geometric shapes found in many man-made objects. Students also addressed the categories of light on each object giving them a greater sense of volume as well as light. Contrast, intensity and full gradations are crucial for the success of creating complete values. Notice the clarity in the values and the even transitions from dark to light in the gradations of the forms.

MON. 1/30 IDEAL SOLIDS

Tara Funk

The M/W class began their studies of the Ideal Solids. See previous post for more info. Note in Tara's drawing above the way line complements the tonalities. It's important to swell the line in areas so as not to "cut-out" the form too much.  An even line around a form is "flattening" rather than creating volume. Observe the cone, cylinder and open cylinder and note how the line on the light side of the form broadens at the base of the forms and almost "breaks" or disappears as it approaches the top. These are lines suggesting volume.

THURS. 1/26 IDEAL SOLIDS

Jonathan BeVier

The T'/Th class began rendering the Ideal Solids; these are standard geometric forms found in most man-made objects. The arrangement consists of a cube, sphere, cylinder, cone and short open cylinder.  We also added the categories of light rendering the forms three-dimensional.  There are six categories of light: cast shadow, reflected light, core shadow, shadow, light and highlight.

THURS. 9/1 IDEAL SOLIDS

Student Drawing

Ideal Solids are the standard, geometric forms found in many objects, particularly those that are man-made. They consist of the cone, sphere, cube, long cylinder, and open cylinder. Students worked out the basic structure of the objects locating axis lines or foundation shapes (cylinder starts with a rectangle) and then applied the categories of light to the form. These forms were drawn from imagination.