FINAL PROJECT: The Jungle

All this week students will be working on their final projects, "The Jungle." The objective is to create an image of shallow depth with attention to texture and the categories of light. Here are some examples from previous semesters for reference.

VALUE: Light and Dark Rhythms

Friday morning began with Value drawings addressing two objects. The objects of Beni's drawing (top) are well proportioned to the paper. The values are rich and the categories of light have been rendered fully contributing to the sense of light and form. In addition, the background is well thought out and provides atmosphere and environment.
The nondescript space of Electra's drawing has a dreamy, surreal quality. The objects are rendered with high contrast tonalities. Her handling of the materials is inventive and skillfully applied. Of particular note is her rendering of the glove. The highlight's and gray tones add to the character of the form.

 In the afternoon, the still life was expanded to five or more objects. Julianna's drawing at the top engages with three edges of the paper enclosing the negative space. The objects are well proportioned and three-dimensional. The line quality is particularly strong. Notice the "accenting" of the contours (thick and thin lines). The values are sparse unifying the objects with the space.
Ray's drawing in contrast has taken a very objective view of the forms and light. He too has enclosed the negative areas. The values are rich and the categories of light are skillfully rendered suggesting light and form as well as addressing the local values of each object. He has clearly illustrated the still life includes white objects, gray objects and black.

INDIA INK: Wash Drawings (Large Still Life)

Techi Brant

Last night students continued drawing with ink wash. Techi's drawing above is well balanced rich with values and mark-making. She has effectively activated all edges of the composition as well as the interspace negative areas. The light and dark values move the "eye" from foreground to back. The dark values support the forms and establish passages for rhythm and movement.

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.

Mar. 1 VALUE: Four Divisions of Value

Students made charcoal drawings from a complex still life arrangement.  The objective was to create a rhythm/ movement by addressing the value patterns. Notice in Jennifer Green's drawing (top) how the black shapes in the composition establish a diagonal rhythm/ movement leading the "eye" from top left to lower right.  This is complemented by the diagonal line implied by the height of the objects as well as the diagonal shape and the black triangle in the upper right corner. Avi Scheuenstuhl's drawing (bottom) has a subtler range of values yet is very well composed. His drawing exhibits a bottom left to top right movement.  This is initiated by the tea pot and carries up to the dark oval shapes on either side of the composition.

HOMEWORK #7: The Jungle

The assignment is a repeat of the class project.  Create a "continuous" composition with objects cropped and engaged with edges of the paper.  Choose a dominant shape that is supported by smaller "groupings" and clusters of objects.  Consider the directional pull of the composition and address the textural as well as tonal aspects of your design.  This composition may be derived from a cropped section of the in-class drawing. Use 18 x 24 in. paper with charcoal materials and erasers.

10/25 "The Jungle"

Monday students began the "Jungle" project.  This projects involves creating a continuous composition in that the image touches all sides of the paper.  The primary objective is to develop an image with strong light and dark rhythms while addressing the textural qualities of the subjects. The student drawing above is a perfect example of the project.  The placement of the feather and thistles thrusts the "eye" in a circular motion around the composition while the repetition of forms pushes the "viewer's attention diagonally across the composition as well as from foreground to background.  Furthermore the textural and tonal qualities of the drawing are rich and bold.

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.