Cross hatching PLEASE REVIEW

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

Linear Persepective Project

  2. Pick up board and drawing paper. Bring ruler or straight edge, pencil, phone, and black pens. [Return drawing board to room by noon]
    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.
  4. WARM UP
    1. Make 4 or 5 thumbnail sketches
  5. 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
  6. Using ruler, points, and orthogonal lines draw building and features [in pencil] as done in the videos
  7. From your exact view point take a photo and convert to grayscale image.
  8. INKing via crosshatching or stippling
  9. Based your B&W photo as a reference, begin shading using cross hatching, lines, or stippling patterns to create the various values.


Homework also due Tuesdays

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


weekend to-do [due 11/3]

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weekend to-do [due 11/3]

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

  1. draw from life
  2. use grid method
  3. may use photo print out to resolve scale issues but value should be from live viewing
  4. 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.




  Kate and Charise

Yay! Smooshed faces on copy machine realize in charcoal

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Yay! Smooshed faces on copy machine realize in charcoal

Using the grid method.  










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

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

Four charcoal drawings

  1. One hour each [meaning a minimum of 4 hours]
  2. 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.
  3. 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.
  4. Put up on wall when you get to class on Tuesday [CRIT].

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

  1. smash face onto copy machine expressively
  2. include your hand in some
  3. CLOSE your EYES [so as not to damage your retinas]
  4. 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

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weekend 7 to do (due 10/13) - value, volume and types of light
  1. Review volume chapter and pages of light
  2. 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.
      IMG_7277.JPG  IMG_7274.JPG
    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.


      NON EGG options. must spray paint fruit white

weekend 6 to do (due 10/6)

  1. 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. 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)
        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
  2. Create any drawings needed to refine or complete the LINE PORTFOLIO
  3. 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.

  4. 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.

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


Egon Schiele (1890-1918)

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

  1. READ Excerpt from Drawing: A Contemporary Approach pages 42-43
  2. ARTIST of the week
    1. Watch
    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.
  3. 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

Weekend 4 to-do list
  1. 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.
  2. Self-Portraits = 5 = 30 minutes to one hour each (17 points each)

    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

      cross contour with gestural quality

      dramatic face angle and lighting

      dramatic face angle and lighting

      longitudinal cross contour

      longitudinal cross contour

      kristen longitudinal

      cross contour, longitudinal


    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. 

  1. 3 points for doing of each sketch
  2. 7 points for apparent application of expected time (30 minutes minimum up to one hour per drawing)
  3. 7 points for capturing facial depth using cross contour lines
  4. Points will be deducted for outlining