HOMEWORK # 11 Atmospheric Perspective

Make a drawing employing atmospheric perspective.  Your subject may be an interior or exterior view or the surface of a table top.  Be creative and inventive with this project but be sure to establish foreground, middle ground and background with the appropriate effects of atmospheric perspective.  You may use any medium. Paper size 18x24 in.  The drawings from class posted below are all good examples as well as the two posted here.

4/27 Two from Tuesday

Here are two drawings from the T/Th class.  (Above) Stan Mishanetz has approached this drawing with distortion and a surrealist/ outsider sensibility.  The drawing has broken away from straight forward linear perspective and in effect has created a more dynamic and intriguing composition.  The space is basically broken down into three sections. 1. A large ground plane. 2. A medium sized shape on the left. 3. The busy compartmentalized shape of the lockers on the right.
(Below) James Conrad has also taken some liberties with his rendering of the space at Analy Hall.  By arcing his converging lines, he has created a push back into the hall that creates a rolling sensation.  It makes for a more animated sense of the space, as if we were moving through it.  He has employed atmospheric perspective by giving more clarity and richness to the lines and tonalities of the objects in the foreground while lessening the intensity and allowing the shapes to fade as they recede into space.  Both of these drawings are perfect examples of "Making Something Out of Nothing".  In other words, their drawings are infinitely more interesting than the actual space they reference.

4/26 and 4/27 Atmospheric Perspective

Atmospheric Perspective takes into consideration the atmospheric conditions when rendering deep space.  There is more to rendering the atmosphere than just fog, smog, or rain.  Even clean, clear air has an effect on the way we observe space.   The concept of Atmospheric Perspective divides a space into three levels: 1. foreground 2. middle ground 3. background.  Objects in the foreground have sharper details and textures, richer values and brilliant colors.  As objects recede into a space details and textures diminish while values and colors lose their intensity.
The drawing above by Alan DeMarche uses a combination of concepts. The space is rendered in One-Point Linear Perspective.  He also uses the element of atmospheric perspective that diminishes details as they recede into space. The use of dark values also aids in pushing the space back as the lighter values in the foreground advance.

HOMEWORK # 10 Self-Portrait

For the self-portrait assignment you may create a traditional frontal or profile portrait or you may be more inventive.  For example you could include props or place yourself within a space.  The drawing at the top is a traditional frontal portrait but with the positioning and placement within the hand-held mirror and the inclusion of the sprained hand the portrait becomes much more visually as well as conceptually.  By placing the portrait all around the space, the drawing takes a more humorous and surreal approach to the portrait. Furthermore, the portrait becomes a motif that leads the "eye" throughout the composition.

This assignment should be drawn on 18 x 24 in. paper in any medium.

4/22 Self Portraits

T/Th class worked on self portraits.  Explorations in atmospheric perspective and spatial compositions next week.

4/21 Self-Portraits

M/W class was dedicated to rendering self-portraits.  Class began with some "Mass" drawings.  If you recall from the beginning of the semester "Mass" drawings should emphasize a sense of weight and light by rendering the dark and light value patterns not details.  The rest of class time was for working on portraits.

Kate Picchi does an excellent job of capturing her "smirking" expression. The spiraling shapes in the negative space add a touch of depth and whimsy. Kate used pen and ink with a brush and wash sketch.

Megan Muller's drawing has focused on capturing the subtle value gradations and planar shifts across the volumes of her face.  Drawn with graphite and eraser.

Katie Bogner's drawing is tonally and texturally rich.  This was achieved by her use of additive and reductive drawing.  Katie's use of highlights not only emphasizes the bone structure of the face but adds depth and realism to her hair. Drawn with charcoal and eraser.

Justin Edwards has combined charcoal and pastel.  He too has established a strong sense of the underlying armature of the face with his use of highlights emphasizing bone structure.  In addition, his use of flesh tones and the blending of lights and darks is confidently rendered.

4/20 Class Portraits

Drawings from T/Th class.  By filling the page and using high contrasting and bold values, Jonathan Florence has created a very striking and confrontational portrait.  Andres Fernandez has used distortion and broad sweeping values to create a very dynamic portrait. Robin Noelle has employed a slight exaggeration of forms hinging on caricature to capture the essence and character of Mary's gaze.  And lastly, Rashaun Parlett has used bold features complemented by bold marks and values to create a very dimensional and volumetric portrait. The mark-making in the hair and on the right side cheek and chin are particularly well drawn.