Simulated Texture

Tuesday and Thursday evenings we worked on "simulated texture" drawings.  Students had the option to draw a texture study or fill a silhouetted shape with a texture that is different from the original or what you might expect.  The first option, texture study, is to be within a 4 x 6 in. rectangular format, drawn in graphite.  The composition should be "continuous field".  In other words, the image goes off all four sides of the composition.  The focus is on the texture; there should be no definition of the shape or form the texture is derived from.  The entire image is a rectangle of the texture. The second option, the silhouetted shape composition, is inspired by the artist Rene Magritte.  Compositions should consist of a central shape filled with a texture other than its original or natural texture.  The background should consist of a second texture contrasting the one within the silhouette. In the drawing above, an egg shape is filled with snake skin texture. Drawing by Chris Clark.

Dinosaurs

Thursday Night I showed slides covering Actual, Simulated, Symbolic and Invented Textures.  The remainder of the class was dedicated to finishing the "dinosaur" drawings.  The objectives with these were to render the toys addressing the variations in values and line quality as well as the textural qualities of the surface.  As an aside, a further challenge was to draw something hand held larger than life. Drawing by Dominic Fabiani.

REMINDER: Bring at least (5) reproductions of textures to class.  Go to google images: textures.  Also check out the Surrealist Artist --Rene Magritte.  Our project for next week will be an homage of sorts to the artist.

Introduction to Texture

Last week was Portfolio Review week.  Students worked on drawings while I reviewed portfolios one-on-one with each student.  Tuesday, Oct. 20 we started our explorations into texture.  Each student was given a toy "dinosaur" to draw.  The objective was to draw the toy rendering the categories of light and translating the colors into black and white while addressing the textural qualities on the surface of the toy as well.

HOMEWORK: Bring a sample of an actual texture.  A small piece of weathered metal or wood, scrap of fabric or carpet, sea shell, leaf, etc.

FOR NEXT WEEK: Bring at least (5) reproductions of textures.  These may be photos, reproductions from magazines or books as well as images taken from the internet.  Google images is a great resource for examples of different types of textures.  Click here for the link.

MIDTERM PORTFOLIOS ARE DUE

Portfolios are due next Tuesday, October 13.  The class will work on a composition while I speak one-on-one with each student regarding the work completed in class to date.  Portfolios should include the list that follows, "nothing more, nothing less".  Each drawing should be removed from the drawing pad prior to our meeting.  Drawings will have been rendered with various drawing materials on newsprint as well as the drawing pad. (Subjects are listed in parentheses).
1. Continuous Line (gourds)
2. Gesture (gourds)
3. Oranizational Line "Proportions" (milk cartons, bottles, paint cans)
4. Contour (various tools)
5. Composition (forms from nature: plants, bones, etc.)
6. Value Patterns (paper w/holes cut out)
7. Four Divisions of Value (hand-toned paper, metal objects: water pales, chicken feeders, etc.)
8. Single Directional Hatch (bottles, etc.)
9. Modeling (mugs)
10. Perspective (imaginary space)
11. Drapery

Drapery Study

Tuesday night began with a critique of the last couple of weeks efforts in Two Point Linear Perspective and developing  an imaginary space.  After the crit, we drew a drapery study using charcoal.  The key to drawing drapery is twofold 1. All folds originate from a single point such as a pin holding the fabric to the wall.  2. All folds have three planes (sides): a front, a top and a bottom or a front and a left side and a right side. Drapery studies should start as a contour drawing with lines emanating from the source (i.e. the pin in the wall).  Next apply dark shadows.  Emphasize lines on dark side of folds and spread the line into the shadows.  The drawing here is actually from last Spring's Art 7A class.  Note the technique for rendering volume.  The planes of the fabric are drawn by using short, parallel hatches that follow the cross contours of the folds.

Where to Begin: Imaginary Space and the "Ground Plane"

1. The first thing to draw is your horizon line.  Place it anywhere from the middle of the paper or higher.  Next attach "wings" (pieces of paper, not shown in the picture above) to the left and right sides of your paper and extend the horizon line across the "wings".  This will allow you to place your vanishing points out as far as possible.  2. Place the vanishing points at equal distances from the edge of your drawing paper. 3. Next, draw the closest corner of the "ground plane".  It should be about 1 in. and placed in the bottom, center of your drawing paper. 4. Draw you converging lines from the top and bottom points of the corner to the vanishing points.  5. Draw a vertical line between the converging lines to designate the back edge.  6. From the right back edge, draw to the left vanishing point and from the left back edge, draw to the right vanishing point. If you do not keep your drawing symmetrical the front corner will not line up with the back corner.  To remedy this, measure out from the center of your paper instead of from the edges when placing the back edge verticals between the converging lines. 7. Now draw the height of the walls.  Again if they are not the same height or placed in the same location on the "ground plane", they will not meet at the center.  You can fix this by adjusting the height of ONE of the walls.  8. Start putting in your windows, doorways, stairs, etc.

Imaginary Space: Middle Horizon Line

This drawing has a horizon line located at the middle of the paper.  Note how little of the middle balcony's floor you can see.  This is because it is very close to the horizon line.  The closer an object is to the horizon line the more parallel it becomes to the horizon line.  You can't see the floor of the upper balcony because it is above the horizon line.  Another thing to note with this drawing is its design and how the "Eye" moves throughout the space.  The "Eye" is led around the composition by the repetition of elements.  For instance, look at the placement of the archways.  The "Eye" is led in a "zig-zag" pattern.  The repetition of circles and squares works in a similar fashion. This is what I mean by Direction and Movement or Rhythm and Movement.