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.

ACTIVATING THE POSITIVE AND NEGATIVE: cropping

Joy Montague

Shiho Nakagawa

Last Wednesday we started discussing the topic of Composition, specifically different strategies for activating and engaging with the negative areas. Both of the drawings above are "cropped" views of tools emphasizing the most interesting parts rather than trying to fit the whole object on the page. By cropping the objects, the negative areas are isolated playing a more important role in the balance and visual interest of the composition.

LINE: Gestural Method

Last night class began with a slide lecture on Gesture Drawing: the act of quick, spontaneous and all encompassing rendering of an artist's subject. To begin, the class made cross-contour studies.

Graham Metcalfe

Graham has established a slightly downward view of the gourd. Notice how the lines move across the front of the form, bending at the ends to address the way the edges recede. In addition, he has "accented" the ends to suggest the way light is striking the form.

Andrameda Martinez

Next we made Continuous-line drawings. The idea is to use one unbroken line that wraps around the form addressing the exterior edge as well as the cross-contours. Notice in Andrameda's drawing that the cross-contours move vertically as well as horizontally. The thing to remember is how Line illustrates the "structure" of the form.

Joanna Alvarez

Joanna's drawing is an example of the Mass technique. These drawings address the volume and solidity of the form while also illustrating light patterns. Notice how Joanna has used dark values on the shadow side of the form to establish a light source. In addition, the dark values push receding planes back. The examples being the neck and the base of the gourd.

Crysta Maguire

We ended the evening with a drawing emphasizing the negative space: the areas around and within the objects. The drawing above is a group of gourds. The objective of this drawing was to "suggest the objects". In other words, to draw just enough without drawing too much. Take note of the variations in tonalities as well as the lighter and darker marks employed.
Note: Not shown from last night is an example of the Scribble technique and the combined techniques of Line and Mass together.

PROPORTIONS

Yesterday class began with a discussion on Proportions and "sighting" (see previous post and menu above for more info). We also talked about emphasizing and engaging with the negative space by employing cropping. Observe in Kyle's drawing below how cropping the bottles and shadows has isolated areas of the negative space dividing the background into four individual shapes.

The class then made drawings searching for the ideal solids within more complex shapes. Celindrea's drawing above is a cropped view of a mixer. Again the cropping helps divide and activate the negative space. She has also addressed the negative space with some tone which emphasizes the stand of the mixer while forcing the background to recede. Her preliminary marks are still visible with the base of the stand.

After the lunch break we discussed Linear Perspective (see menu above for more info). The class made drawings of blocks in one-point and two-point perspective. We ended the day with a free-hand drawing of a still life of blocks. The students were armed with the knowledge of the rules of linear perspective and eye level, proportions and sighting. Celindrea's drawing above is a well balanced composition with strong attention to the relationship between the positive and negative areas. The lighting is powerful and the textures are rich. The texture of the background is particulary inventive. Kai's drawing exhibits a more somber mood and an approach that is more suggestive of the forms. The positive and negative areas are very unified as if the blocks are emerging from fog or smoke.

LINE: Gesture

Last night we continued exploring Line through a series of drawings addressing cross-contours, continuous line, scribble, mass and negative space. The important distinctions to remember are 1. line drawings address the structure of form and 2. scribble and mass techniques address mass and volume. In addition, the latter address value changes in light because they are essentially tonal drawings.

Dylan Freitas

 Cross-contours address the contours moving across and around a form rather than the outside edges. "Accents" in the line quality may suggest a change in the structure as planes advance and recede as well as addressing the way light falls on the form.

Suzie Larsen

 Continuous Lines address the structure and volume of a form by creating an armature or skeleton with vertical and horizontal cross-contours.

Joe Mulcaire

 Scribble Gesture addresses the mass and weight of a form as well as the location of a light source.

Erin Deacon

 Mass Gesture like Scribble addresses the mass and volume of an object. Because it is a tonal technique, the categories of light are illustrated as well.

Joe Mulcaire

Negative Space and/or shapes are the areas around and within the forms. In the case of the arrangement above, the objective is to "suggest" the gourds by drawing the shadows, receding planes and passages between the objects.

VALUE PATTERNS continued

Daniela Abed

Last night students continued with studying value patterns. Upon entering Daniela's drawing at the funnel in the foreground, you are immediately pushed to the stacked funnels on the left, mostly by association and likeness but also by the direction of the funnel spout in the foreground. The white areas and forms then direct your eye diagonally to the right. The subtleties in tone and the attention to shadow are beautifully rendered but it's the attention to the negative areas that really sets the space for this drawing. Notice how the negative areas around the still life "loosely" follow the edges as if the objects were laying on a pillow. The dark areas between the objects and under the inside of the tilted funnel are skillfully balanced against the black funnel and pipe in the background.