drawing 1303 | perceptually derived ← Texas Tech with Kathy Kelley

Cross hatching PLEASE REVIEW

Nov

2015

Complete your in class drawing exploiting ink and crosshatching to create volume and the different types of light.

If you have not yet outlined objects in ink I recommend to try to avoid this and create line via implied line that occurs through changes of angles of crosshatching and value. I am putting some samples so that you can see how outline is not actually necessary.

Thursday 11/5 (8-10:50) on campus drawing plus weekend homework

Nov

2015

Linear Persepective Project

REVIEW VIDEO TUTORIALS BELOW
Pick up board and drawing paper. Bring ruler or straight edge, pencil, phone, and black pens. [Return drawing board to room by noon]
COMPOSITION
1. Select an interesting building(s) on campus with columns or arches. It can be a courtyard or exterior view.
2. Situate yourself to either draw from a one-point perspective or two-point perspective viewing angle.
WARM UP
1. Make 4 or 5 thumbnail sketches
FINAL DRAWING2 for 2-point perspective when building is rotated in space from you (meaning one corner is closer than all the others)Using ruler and pencil, establish your horizon line and points
- Use 1-point perspective
- OR 2-point perspective
- You may also do 3-point perspective
Using ruler, points, and orthogonal lines draw building and features [in pencil] as done in the videos
From your exact view point take a photo and convert to grayscale image.
INKing via crosshatching or stippling
Based your B&W photo as a reference, begin shading using cross hatching, lines, or stippling patterns to create the various values.

THIS DRAWING SHOULD BE COMPLETED BY TUESDAY.

Homework also due Tuesdays

Complete linear perspective drawing of building exterior. Approximately 20×30 inches.
Complete an INTERIOR linear perspective drawing of bedroom or bathroom. Sketchbook sized

weekend to-do [due 11/3]

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Oct

2015

I. Complete in class still life [come up and work in our room]

draw from life
use grid method
may use photo print out to resolve scale issues but value should be from live viewing
be sure your use of value expresses
1. volume
2. types of light – reflected light, core shadows, cast shadows, etc
3. surface differences in how light behaves — glass vs fabric vs plastic fruit

II. CRIT HW – put drawings up by 8 am on Tuesday in other studio.

III. BRING – 18″ ruler, black pens, india ink, cheap small brush, cup to put water in.

Here are some of y’lls drawings begun. If you were absent, the still life is on the east wall of pur room. Don’t move spot lights but do turn them on.

Allie

Daniel

Kat

Kate and Charise

Yay! Smooshed faces on copy machine realize in charcoal

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Oct

2015

Using the grid method.

Chisem

Mckenzie

Tatum

Rowdy
Daniel

Andrew

Emily
Kate

Jordan

Kristin

Morgan

weekend 8 to-do [due 10/19] value + types of light + shadow

Oct

2015

Four charcoal drawings

One hour each [meaning a minimum of 4 hours]
Create one still life composed of
1. Crushed soda cans (feel free to spray paint white if it helps you see the way light is behaving on the the surfaces)
2. White styrofoam cups, 3 to 4. May substitute plain white mugs.
3. One primary directional light source [dramatic],
  which should give you and effect similar to this.
Draws with make-up wedge.
1. Complete a couple of quick warm up drawings to get scale relationships
2. You may want to very lightly with wedge draw using organizational lines prior to your study on light and shadow.
3. all edges should be implied through value contrast, NO drawn LINES
4. Pay attention to
  1. scale of objects
  2. angles
  3. elipse construction for viewing angle
  4. spatial relationships
  5. TYPES OF LIGHT/SHADOWS [click here for good useful info on drawing light and shadows]
    -note how light hits interior of cups
    -study how light/shade behaves over the crumples in the cans.
Put up on wall when you get to class on Tuesday [CRIT].

Ten (10) copy machine selfies. Each one should be different

smash face onto copy machine expressively
include your hand in some
CLOSE your EYES [so as not to damage your retinas]
bring to class Tuesday, we will use them for a new charcoal/value/removal/grid technique

weekend 7 to do (due 10/13) – value, volume and types of light

Oct

2015

Review volume chapter and pages of light
Complete 3 charcoal value-volume-light drawings
1. Spend 1 hour on each drawing
2. Set up a still life composed of white eggs and toilet paper (alternatively you may use apples in place of eggs, but these must be spray painted 1 [$1 can from walmart]).
3. For each drawing select a different view or rearrange.
  PREVIOUS STUDENT SET UP SAMPLES
4. Use directional light (one light source, like a lamp)
5. Each drawing should display highlights, quarter tones, half tones, core shadow, reflected light, cast shadow and occluded shadow (see top diagram).
6. At the top of each drawing make a small horizontal bar with a grayscale gradient (10 boxes) from black to white. Use this as a reference while drawing.
7. highly recommend you use the viewfinders we made in class [what they look like/how to use]
8. use charcoal
9. using only value gradation and shifts draw eggs, toilet paper and hint of what they are sitting on.
  SOME STUDENT SAMPLES
  
  NON EGG options. must spray paint fruit white

weekend 6 to do (due 10/6)

Oct

2015

LINE Portfolio 1 (for major grade) DUE TUESDAY 10/6
1. Carefully select drawings from those you have created. Make your selection based on which drawings show the strongest use of the method.
2. Include drawings
  1. BLIND CONTOURS
    1. 1 full body blind contour
    2. 1 blind contour of a peer
    3. 1 self portrait blind contour (sketchbook)
    4. 1 blind contour of still life (objects)
  2. CROSS CONTOURS (see pg 39)
    1. 1 cross contour still life (objects)
    2. 1 cross contour self portrait from mirror (sketchbook)
  3. NEGATIVE SPACE
    1. 1 negative space drawing of pile of chairs
  4. GESTURE (see pg 43)
    1. 1 gestural drawing
  5. ORGANIZATIONAL LINE (Drawing: A Contemporary Approach pages 42-43)
    1. 1 organizational line drawing still life
    2. 1 organizational line self portrait include one hand in composition from mirror
Create any drawings needed to refine or complete the LINE PORTFOLIO
Five (5) self-portraits of your hands using organizational line (30 minutes minimum on each)
1. All 5 from direct observation.
2. Large – 1 per page
3. Detailed via organizational lines.
4. Build up more and more organizational lines to create hand.Here are some examples of the method applied to hands.
Read chapter 4 VALUES and pg 79-80 (using value to depict volume/types of light and shadow). Know the language/phrasing of lights and shadows.

Sep

2015

One of my favorite artists whose whole career was basses on the selfie.

GIF

Egon Schiele (1890-1918)

Weekend 5 to-do list (due 9/29)

Sep

2015

READ Excerpt from Drawing: A Contemporary Approach pages 42-43
ARTIST of the week
1. Watch https://www.youtube.com/watch?v=QS0PzOwfmHo
2. Chose a sample sketch from Alberto Giacometti that uses organizational line.
3. Print out and put in sketchbook
4. Explain what attracted you to this specific drawing
5. List 5 ways that he used organizational line through samples. Highlight on printout.
Five (5) self portraits with one hand in the drawing using organizational line.
1. 3o minutes minimum up to 1 hour.
2. TWO of the five. working onto of a printout of a selfie (BW) mark out organizational lines in a similar fashion as Giacometti
3. THREE of the five, working from a mirror and dramatic light, pencil or charcoal, execute your self-portrait through the use of organizational line.

Portrait grades are based on the appearance of usage of TIME as defined by amount of detail, use of METHOD suggests a strong understanding. Each sketch is worth 17 points and Artist of the week activity is 15 points.

Weekend 4 to-do list

Sep

2015

Artist research (15 points): Bridget Riley (and Op Art)

Bridget Riley, ‘Fragment 5/8′ 1965`Descending. 1965-6
1. google Bridget Riley > images.
2. select two images that show a lot of depth
3. print out and put in sketchbook
4. list (minimum of 5 descriptors; check textbook to help) all the observable features that assist in creating the depth despite being in fact a flat canvas.
Self-Portraits = 5 = 30 minutes to one hour each (17 points each)
NO OUTLINING FORM!!!!!
1. Using ideas harvested from Bridget Riley’s methods in creating depth with lines, execute your five cross contour self-portraits
2. Use dramatic light to help you locate where the your face rises upwards towards you as the viewer (light) and shadows to show you where the body curves away.
3. The first two self portraits are to be drawn on top of a black and white selfie of you (dramatic light). Print size should be ~ 8×10.
  A few student samples that are on the right tract–one with a fast gestural line quality the others slow and meticulous. The time requirement has gone up, so this week there should be even more detail and the expression of more depth via the use of cross contour lines.
  
  cross contour, wire mesh like
  
  cross contour with gestural quality
  
  dramatic face angle and lighting
  
  longitudinal cross contour
  
  cross contour, longitudinal
  
  REMEMBER what will be different from these samples is the expression of GREATER DEPTH THROUGH LINE CURVATURE, DISTANCE APPART, LINE THICKNESS, LINE LIGHTNESS OR DARKNESS AND MORE DETAIL.
4. The next three self portraits are to done using a mirror and dramatic light. Consider a three-quarters view and not straight on. Also explore tilting your head up or down.
5. You may experiment between cross contours that are done more quickly like gestural lines, but they should follow the form of the body, and because of the time expectation this means that the drawing will be highly detailed with lots of cross contour lines. Or you may use a more slow maticulous line quality like a blind contour.
6. Also consider your pencil or charcoal pressure…pressing hard creates dark lines, lightly creates more delicate lines. Pressure effects line thickness, value and affective connotations.

17 points possible for each self portrait.

3 points for doing of each sketch
7 points for apparent application of expected time (30 minutes minimum up to one hour per drawing)
7 points for capturing facial depth using cross contour lines
Points will be deducted for outlining