COMPOSITION: Atmospheric Perspective

Leslie

Rio

Last night the class made drawings employing the Distal Cues specifically addressing atmospheric perspective. Both compositions above exhibit strong attention to the negative areas as well as the edge of the paper. Notice that the objects touch all four sides of the paper. Leslie's drawing exhibits a high horizon line, located in the top third of the paper. The objects are very well proportioned to the paper. The horizon line in Rio's drawing is off the page, above the image area. Again the forms are large with boldly rendered values. Both drawings have very well balanced compositions illustrating the importance of paying attention to the relationship between positive and negative areas. In addition, the two drawings have successfully divided the space into foreground, middleground and background, a key component of using atmospheric perspective.

VALUE: Still Life

Jennifer

Last night the class continued with the concepts introduced last week. Instead of imagining the ideal solids the class drew from a still life. The objective was to touch at least two sides of the picture plan and to start the process of developing values by addressing one at a time throughout the composition. In other words, place all the white areas, then light gray, dark gray and lastly black. Once a base value had been established throughout, the values were then modeled to add volume.

VALUE: Emphasizing light

David

Dylan

Last Wednesday the class made drawings emphasizing the light patterns over volume by employing a single directional hatch or scribble technique. David has created a very dynamic composition with rich values and energetic marks that sweep across the space and around the forms. The location of similar values throughout the image establishes a rhythm that keeps the "eye" moving.
Dylan's drawing exhibits a very strong sense of light and mood. The transitions in value are very controlled as is the hatching. The limited value range has created a very unified and warm environment.

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.

VALUE: Seeing the Light in White

Last night we started discussing Value: the gradations between light and dark. The objective was to render the categories of light observed on white objects. Emily has very skillfully rendered the value and light patterns with soft, even and gradual transitions from light to dark. In addition, she has energized the form with a zig-zag pattern, indicative of wavelengths or wood grain, in the negative areas.
Jennifer's drawing is more expressive with rapid cross-hatched marks to address the light and value patterns. The tonal shapes are bold and lively adding weight to the cast shadow and propelling the light value of the object forward. Where Emily's drawing is more symbolic or iconic exhibited in an open and undetermined space, Jennifer's drawing, with a background that is more about light than pattern or texture and with the inclusion of the table edge,  presents a sense of the environment surrounding the object.

VALUE

Georgia Bourdens

On Tuesday, the class made drawings of a single subject addressing local values and the categories of light. Georgia's drawing illustrates the weathered, textural variations in value as well as light and form.

SUBJECTIVE VALUE

David Covarrubias

Erik Dellabruna

Harrison Nixon

Yesterday the class completed the Subjective Use of Value drawings. David's drawing at the top exhibits a totem-like sculpture of representational and abstract shapes and forms. The values are rich, balanced and varied. Notice how the shapes are locked in the center and appear to standout against the background.
Erik's drawing illustrates a surreal landscape as if one is peering out through the mouth of a cave. The overlapping shapes and rich, black values help project the depth and atmosphere of the drawing.
Harrison's drawing is a dynamic composition reminiscent of a folk tale. He has effectively established multiple rhythms by repeating the bird feet and beaks as well as similar values and textures.

VALUE: Subjective Use of Value

Erik Dellabruna: work in progress

Yesterday the class began exploring the element Value in depth. Value refers to the gradations between light and dark. For this project, the class initiated drawings through "automatic drawing," a technique employed by the Surrealist artists of the 1920's. The objective is to create an enclosed composition of large and medium shapes. Once the sketch is complete, the shapes are filled with varying values of light and dark as well as different additive and reductive drawing techniques with charcoal and erasers. The drawing above has a very good foundation. The direction to explore now would be to vary the textural qualities more.

EYE LEVEL

Georgia Bourdens

Luke Mello

Yesterday, we discussed one and two-point linear perspective and the importance of "eye level." The class made drawings of large blocks presenting a perspective challenge. The drawings were rendered in free-hand. The two drawings above have effectively rendered the space maintaining a consistent and believable eye level across the forms. Take note that the eye level is at the top and outside of the paper.

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.

LOCAL VALUE

Gretta Collaso

 Last night the class made drawings addressing Local Value. The objective was to illustrate the three individual values of each object. The objects in Gretta's drawing are well proportioned to the scale of the paper and all the values are skillfully rendered. Note the way the dark values recede and the lighter values advance. The dark vase is particularly well drawn. She has keenly observed the various highlights and reflected light from the table.

Sam Wingfield

Sam's drawing too is well proportioned. The values are rich and well balanced. The composition is slightly heavier on the left but this is easily remedied by extending the table edge towards the right.

VALUE: Seeing the Light in White (Local Value)

Mikayla Steele

Randall Little

Last night we began working with graphite pencils. Our subjects were white objects. Notice in Mikayla's drawing (top) how the darkened negative space accentuates the form increasing the contrast and strengthening the sense of light. In Randall's drawing the tonalities are very even throughout yet as in Mikayla's drawing the background accentuates the form unifying the positive and negative areas.

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.

VALUE: Still Life

Joy Montague

Natalie Miranda

Monday night the class made value drawings trying to engage with 3 to 4 edges of the paper and employing the Distal Cues. Joy's drawing (top) is well composed with forms as well as values. Notice how she has balanced the dark glove with a dark area in the upper right background. In addition, all of the objects are rendered with strong attention to the categories of light.
Natalie's drawing exhibits large forms and contrasting values complemented with bold contour lines. The location of the values moves the "eye" easily throughout the composition. The turbulent background is a dynamic contrast to the strength and stability of the still life.

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.

VALUE: Two Object Compositions

Shiho Nakagawa

Last night the class made value drawings from a still life of two objects. Shiho's drawing above exhibits a well balanced composition as well as skillful handling of the materials. It is clear that one object is gray and the other black. The forms are dimensional and the space has depth.

Jason Yarbrough

Jason's drawing is rich in texture as well as tone. The space is atmospheric and somewhat ambiguous. Even with the cast shadows objects float in the space as if they are orbiting around a larger mass. The ambling line helps move the "eye" through the space. The cropped composition suggests there is more to this image than what is seen.

VALUE: Subjective

Last night we discussed the art element Value. Value refers to the gradations between light and dark. Value may be used to address light and volume but it may also enhance the dramatic effects of an image too. The project last night was to use value subjectively. That is to use value according to the demands of design rather than placing values based on factual representation. Every student started by employing "automatic" drawing. This is a surrealist approach where the artist draws intuitively without any preconceived idea of what the end result will be.

Chrysta Maguire

 Chrysta's drawing is reminiscent of an deep under water carnival of flashing lights and sea life. Notice how she has used similarity to create rhythms throughout the composition.

John Larroque

John has employed very bold, flat tonalities complemented with bold contours. The values are clean and crisp interlocking together like the pieces of a puzzle.

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: Diebenkorn Compositions

Jack Ryan

Kathy Heglin

Last night began with a discussion on the work of Richard Diebenkorn and small scale compositions in general. Each student had their own arrangement of 3 -5 objects. Jack's drawing is very well composed, engaging all four sides of the composition. The objects are locked into the space. Your "eye" is directed over and under the positive shapes moving up the page. A bit more contrast in the values would increase the dynamics as well as add clarity.
Kathy has effectively used diagonals in her composition creating a zig-zag, "s-like" formation. There is an interesting flatness to the space. It's as if we are viewing two different angles of the space; one for the objects and another for the background. The objects appear to float on the background partially due to the similarity in size but also the placement (none of the shapes overlap). Kathy's drawing, like Jack's, moves up the page rather than into it.

VALUE: Texture and Mood

On Friday the class made value drawings addressing texture, mood and volume. In addition to addressing the local values discussed in last week's lessons, students applied individual textures to the objects and the space. You's drawing exhibits a keen observation of the categories of light. In addition, there is a skilled handling of the materials capturing the many surface variations without overwhelming or flattening the volumes.

You Nara

Ever Arango Lopez

Ever's drawing is rich in contrasting values as well as texture. The objects and the space possess individual textures yet remain unified within the whole composition. His attention to the details of the gas can capture the character of the object while establishing a pleasing use of repetition.

Dorothy Fast

Rainey Hoaglin

Dorothy and Rainey's drawings are from the afternoon session. Dorothy's employment of high key values produces a tight grouping of the objects where the forms are defined by texture rather than value. The dark background in stark contrast to the objects establishes a strong separation of foreground and background. Rainey's drawing illustrates a very theatric and dreamy lighting condition. The objects appear to be illuminated from within. Her use of the vignette controls the light and the ghostly, incompleteness of the forms evokes a sense of the paranormal.