VALUE: Local Value 3

Emily

Jennifer

Ryan

Last night we continued with Value. The objective was to render three objects with three different local values; dark, medium and light. Emily's drawing clearly illustrates the three different local values. Furthermore, she has rendered each object with volume and light without employing contour lines. The edges are defined with contrasting values. Volume and light is illustrated with smooth, even gradations.
The objects are very well proportioned to the paper's dimensions in Jennifer's drawing. She has emphasized the light patterns. This is most evident in the reflections of the dark vase. In addition, the negative space is divided into two rectangles with the inclusion of the horizontal line suggesting the table edge.
Ryan, too, has divided the negative space with a horizontal line. His drawing is different in that he has used line and tone together. The two elements are very complementary, neither over powering the other, both striving to address form and volume. Like Emily's drawing, the bold values and smooth gradations illustrate the light and volume of the forms.

TEXTURE:Still Life

Luke Mello

Yesterday the class continued addressing texture. A still life was arranged with objects of various local values and textures (i.e. wood, metal, organic). Students were allowed to use any medium and to render the still life in the style of their choosing.
Luke has rendered the still life in a traditional manner addressing the local values, categories of light as well as the individual textures of each object. The composition is well balanced with strong attention to the negative areas. Furthermore, the values are rich, rendered in a variety of additive and reductive techniques.

VALUE: Local Value

Ari McCool

David Covarrubias

Mariah Green

Last Thursday, in preparation for the midterm, the class made small (9 x 12 in.) drawings addressing local values. The objective was to clearly illustrate a light, dark and mid-toned object within the composition. Ari (top) has taken a designed and graphic approach to the still life. The value patterns and objects are boldly rendered in a very playful manner.
 The light and atmosphere are most compelling in David's drawing (middle). The objects and the space are rendered in rich value contrast addressing the local values as well as volume.
Mariah (bottom) has applied a more subtle approach to the light patterns of the objects. The strength of the drawing is the composition. She has very effectively located the objects so as to engage with the edges and the negative space.

VALUE: Categories of Light (white objects)

Apollonio Fontanilla

Devin Marshall

Ray Albor Villagomez

Last Friday began with  drawings of white objects. The goal was to address the categories of light. You can see from the examples the techniques range from the expressive and subjective (Apo and Devon) to the objective and tightly rendered (Ray). Notice the combination of tonalities and how they relate to the value scales.

Jim Paschal

In the afternoon, the class drew small still life arrangements with the objective of illustrating three differently valued items (light, medium, and dark). Jim's drawing lies somewhere between the objective and the subjective. He has keenly observed the local values and light patterns of each form and rendered them with even gradations employing the cross-hatch technique.

VALUE: Local Value

Kyle Freyermuth

Veronica Argentieri

Friday morning the class made drawings addressing the local values and categories of light observed on white objects. Kyle's drawing has a strong sense of narrative and atmosphere. His rendering of the negative areas with whispy, streaked marks suggests moonlit clouds looming over a damp, creaking boat harbor. The mark-making applied to the objects has almost a wood grain texture as well as modeling the volumes. Even the tilt adds to the story.
Veronica has keenly observed the light and dark value patterns on the objects. She has very skillfully applied additive and reductive techniques to address the light and volumes of the still life. In addition, the negative space and cast shadow are very similar to one another adding atmosphere and balance to the composition.

Jose Auraz

You Nara

In the afternoon we increased the still life to one light object, one medium value and one dark. Jose's drawing exhibits a good balance of light and modeling on the objects. He has skillfully arranged the accents within the objects to relate to the accents in the space. The darker values applied to the background add depth and allow the objects to stand out.
You has created some very beautiful value patterns most notably within the iron. The dark values applied to the iron outline the pepper shaker allowing it to stand out. The cast shadows assist in moving the "eye" around the composition and work well with the background.

VALUE: Local Value

Allyssa Nunnemaker

Daniel Orjuela Beltran

Last night the class continued addressing local value. This time the still life consisted of three objects: one light, one medium and one dark. The objective was to address the local values as well as the categories of light. Alyssa has skillfully rendered the values with an even-handed application of the materials. The oil can is particularly well executed with a strong sense of texture as well as volume. Daniel has also effectively rendered the values but the real strength in his drawing is the composition. He has activated the negative areas by zooming in on the objects and engaging with the edges of the paper.

VALUE: Curvilinear vs. Rectilinear Forms

Last night the class made drawings from totems of white objects. The objective was to render the values observed in the still life as accurately as possible. Allyssa has keenly observed the limited tonal range of high key values. She has skillfully defined all of the contours without line instead focusing her attention to the juxtaposition of light and dark values in order to create edges.

Allyssa Nunnemaker

 Jack has added a touch of subjectivity to his drawing. The glowing edges and increased contrast in the values strengthen the graphic nature of the image. The light is bold and strong. His attention to the negative space and use of omission effectively unifies the positive and negative areas.

Jack Brady

 Techi has equally relied on objective observations enhanced with subjective "touch-ups" for contrast and design most notably in the negative space. The values are effectively rendered addressing light as well as volume. The dark plumes in the negative space allow the lighter contours of the bottle to stand out without the need for line while providing a sense of atmosphere.

Techi Brant

VALUE: Local Value

Margaux Fallon

Last night students made drawings addressing the local values of one dark object, one gray object and one white object. Although Margaux's drawing above could use fine tuning of the values and more attention to the background, the foundation for the drawing is very strong. Even at this early stage of the drawing there is a strong sense of light and great clarity in the values. The important areas to develop would be 1. Expand on the shading in the background to surround the objects more 2. apply gradations to the shadows 3 increase the categories of light for greater volume.

VALUE: Local Value

Emily Taylor

Megan Korsak

Last night students made drawings addressing the local values and categories of light observed in two white objects. Emily has taken a more realistic approach to rendering the forms by not including lines. The planes of the objects (mostly the cube) are expressed by juxtaposing light values against darker values. The value gradations of the bottle are smooth and gradual by comparison.
Megan has used a more subjective and stylized technique. The objects and the space appear to glow with light. The arcing space adds a sense of whimsy and surrealism. The values are rich and intense. The multiple shadows reveal the artificial lighting conditions of the studio.

SMALL COMPOSITIONS

Students continued working with small, individual compositions. Here are some examples of the more resolved drawings. The success of these compositions lies within the attention to the negative areas and the relationships between the objects. All drawings are 9 x 12 in.

Jane Collier

Naomi Lehr

Luis Rodriguez Chombo

Leah Lehr

Stevie Young

LOCAL VALUE

Guendalina Codella

The Friday class was playing "catch-up" again to the M/W class due to the holiday. In the morning the still life consisted of two white objects - one curvilinear, one rectilinear. In the afternoon, the still life was of three objects - one dark, one medium, one light. In the drawing above, Guendalina has skillfully illustrated the three local values of each object. In addition, the categories of light have been fully rendered providing volume and a sense of light. Notice the accenting around the white object. The dark of the negative space is balanced by the core shadow moving to the accent at the base and then to the accent following the curve on the left. Furthermore, The proportions of the objects are well suited to that of the paper as well as to each other. The weight of the dark bottle and cream cup are equalized by the weight brought by the negative space in the background. All in all, a well balanced composition with rich, full values.

ADDITIVE AND REDUCTIVE DRAWING: Erasers vs. Charcoal

Stevie Young

In addition to everything covered to date, the objective last night was to explore use of the "eraser" as a drawing tool. The white eraser is your "work horse". It can remove or at least diminish bold, dark areas of value. The kneaded eraser may be shaped but more importantly you may "stamp" with it lightening tonal areas. In the drawing above, Stevie has very effectively used both of these erasers to create the highlights but even more impressive is the textural qualities. The values of this drawing are rich and contrasting illustrating a great sense of volume and dimension. She has accurately addressed the categories of light and local values of the two objects. In addition, the two objects exhibit different textural compositions of wood and metal achieved primarily with the eraser complemented with additive charcoal.

LOCAL VALUE

Stevie Young

Last night students made drawings addressing the Local Values of three objects as well as the Categories of Light. Local Value refers to the quantity of lightness or darkness an object exhibits. The still life consisted of one dark object, one medium value, and one light. Stevie's drawing above is well balanced to the proportions of the page. She has very skillfully handled the graphite medium addressing the variations in tone concerning light and surface reflections alike.

Grant Hanson

Grant's drawing exhibits a much starker quality of light due to the high contrast in value. The black funnel is particularly well drawn. He has very effectively rendered the categories of light while maintaining the integrity of the local value.

HOMEWORK #3 Local Value

Frank Vallin

Mike Koonce

On 18 x 24 in. drawing paper using graphite pencils make a drawing addressing the local values of at least three objects. The still life should consist of one dark object, one mid-toned object and one light object. While addressing the local values, illustrate the categories of light as well. The two drawings above are stellar examples of this project. Take note of the full, rich rendering of value and texture as well as the attention to negative space (i.e. background). Frank has worked the entire surface with additive and reductive drawing whereas Mike has vignetted the still life with horizontal bands. Both approaches are acceptable and more importantly very effective when done well.

VALUE: Local Value and Rendering Light

Kyle Sullivan

Friday morning began with studies made from two white objects rendered in graphite pencil. In the upper left hand corner students drew value scales of six tones. Kyle's drawing illustrates the design qualities achieved with more than one light source realized in the multiple cast shadows. This would normally reveal artificial lighting but Kyle has transformed the table top into a barren, surreal landscape suggesting the presence of two suns.

Patricia Baskerville

After the lunch break, students made drawings emphasizing Light by employing a single, directional hatch or scribble gesture. Patricia's drawing is rich and varied with its swirling, frantic web of lines. The dark mass in the background is reminiscent of a foreboding storm moving inward. Notice how she has reenforced the negative areas between objects creating dark passages for the "eye" to wander and move through.

VALUE: Modeling

Ashley Kiefer

Connor Brusseau

Last night students made drawings addressing the value transitions across a curvilinear form (bottle) and a rectilinear form (block). Rounded forms will have smooth, gradual transitions in tonalities whereas forms with angles will exhibit abrupt changes in tone.
Ashley's drawing above illustrates an exaggerated intensity in value which is very complementary to the surrealistic shadows and space. The shadows seam to reveal the true character or secret life of the objects.
Connor's drawing is a more objective rendering of the forms. The limited tonal range creates a calm and realistic sense of the space as if light were cast through a window. In addition, he has addressed the negative space with subtle atmospheric rendering defining the table surface and enveloping the objects.

THURS. 2/28 Local Value continued

Jorge Torres

Thursday night students continued investigating local value. The drawing above illustrates three objects of three different values. Of particular notice are the gradations in the white cup and the weight in the oil can. In addition, the vase exhibits strong reflective properties. Note the gradation rising from the center to the top of the vase sprinkled with highlights and the reflections of the cup and the oil can.

MON. 2/27 Local Value Continued

Dayana Leon

Students continued addressing Local Values. This still life arrangement included one more value: one gray object. The drawing above clearly illustrates various and different local values in the hammer head, cup and pitcher. Furthermore, the categories of light exhibit smooth gradations with line work that is very complementary to the tonalities. Remember heavy outlines flattens the forms. And lastly, notice that even the white pitcher has an all-over, soft, gray tone where the white of the paper is reserved for highlights.

HOMEWORK #3 Local Value

student drawing

This assignment is basically a repeat of the latest in-class drawings. On 18 x 24 in. drawing paper using graphite materials and erasers, make a drawing addressing the Local Values observed in a still life. Arrange a still life of at least one dark object, one medium object (gray) and one light object. Your drawing should represent objects of at least three different local values as well as illustrating the categories of light.

THURS. 2/23 Local Value

Thursday night students made drawings from one light object (mug) and one dark object (wine bottle). The objective was to address the local values of the objects as well as the categories of light. When drawing reflective and/ or transparent surfaces it is important to observe the value patterns rather than thinking about the surface. In other words, don't think about "glass" look at the juxtaposition of light and dark shapes. The wine bottle above exhibits strong reflective and transparent qualities. Note the use of highlights and the absence of harsh or heavy outlines. Both objects are clearly of different values.