HOMEWORK #2 Composing with Ideal Solids

The second homework assignment is to repeat the in-class assignment of creating a composition using the Ideal Solids. Your drawing should be of a landscape with the suggestion of deep space.  Refer to the class notes on composition and creating depth.  In addition, your drawing and the forms within should exhibit a consist sense of lighting.  This too will add depth and volume to your subjects.  As stated with the in-class project, you must use all the forms.  If desired, you may also repeat one or some of the forms to help with Unity.

9/3 Ideal Solids: Realized and Composed

On Friday the class made studies of standard geometric forms.  In the afternoon, the class placed those forms within a composition.  For more info refer to the posts from 8/30 and 9/1.

9/1 Composing with Ideal Solids

On Wednesday night we made complete compositions using the geometric forms drawn on Monday night; the Ideal Solids.  The goal was to create a space employing the concepts discussed in the lecture on Composition, specifically atmospheric perspective, proportion, overlap, direction and dominance.  In addition, the forms were rendered three dimensionally by establishing a light source and illustrating the categories of light complemented by good line quality.  Drawing by Jeanne Buckens (in progress).

8/30 Ideal Solids

Last night we discussed drawing circles in perspective; called ellipses.  From there we discussed Ideal Solids: sphere, cone, cylinder, open cylinder and cube. These forms are standard geometric shapes found in most objects.  For instance a wine bottle is one long cylinder with a cone and an open cylinder stacked on top. After drawing the forms, we applied the Categories of Light; which are six different tonalities used to describe the way light strikes form.  The six tonalities are cast shadow, core shadow, shadow, light and high light. Drawing by Alan DeMarche.

8/27 Friday Class: Gesture and Contour Drawing

Friday's class began its investigations into Line with Gesture Drawings in the morning and Contour Drawings in the afternoon. For a full description of these two modes of drawing see the posts from 8/18 and 8/23.

This Gesture Drawing by Jasmine Gonzales exhibits great attention to the positive as well as negative areas of the composition. Note how the dark values recede setting up the situation for the light values within the objects to advance and establish the foreground.

Matthias Linford's Gesture Drawing also exhibits a good balance between positive and negative areas.  In addition, his use of cross-contour lines moving vertically as well as horizontally create a strong sense of volume around the gourds.

William Verdoni's drawing is an example of the Contour technique.  Note the attention to details and textural elements combined with the accented line.

Theresa Vernon's drawing is also a study in Contour.  Her line style is bold and confident. Note the repetition of the hand plane from various angles and positions.  This aids in moving the viewer's eye around the composition. 
In conclusion, the thing to notice in all the examples above is that Gesture drawings are quick and spontaneous while Contour drawings are slow and deliberate.  Both are equally important in building strong eye-hand coordination.

8/25 Bone Studies

Wednesday Night's class focused on applying some of the concepts addressed with the Gesture and Contour Drawings towards longer studies.  The class worked from bones.  The goal was to address the contours of the bones as well as the negative space within and around the bones.

This drawing by Eduardo Barrera exhibits a strong sense of mass with heavy accenting in the negative areas.

La Lovan's drawing also has a strong sense of mass while exhibiting bold contours and a sense of light and texture achieved by employing reductive drawing with the eraser.

Travis Gilbert's drawing is a good example of tonal drawing with nearly a complete absence of line.  Edges are created by juxtaposing lighter tonalities against darker tones.

Taylor Bihn's drawing is a great example of line and tone working together.  Note the thick and thin swelling of the line combined with a subtle use of gradations.

The beauty of Adam Bollman's drawing lies within his composition.  Note the way the bone is cropped, dividing the negative space.  This drawing exhibits a very good balance between positive and negative areas.

HOMEWORK #1: CONTOUR LINE DRAWING

The Contour Line Drawing assignment should be completed on 18 x 24 in. drawing paper (not newsprint) using a soft pencil (3B -6B). Choose a complex subject that will fill the page such as a tool, bicycle, engine, car, houseplant, etc.)  If a single object will not fill the page you may use multiple objects similar to the in-class project.  Pay attention to composition.  Remember objects may be more interesting cropped rather than revealing the entire shape.  Employ accenting and line weight variations. In the drawing above, note the accenting specifically around the edges of the chair and flower petals.