Sketchbook Assignment 7: Linear Perspective (10 1-point perspective drawings and 10 2-point perspective drawings). From

***********There will be a Test on Monday, November 1st, 2010 over the terminology highlighted in the Perspective Drawing handout given in class on Monday, October, 25th, 2010.

Assignment 7 continues our understanding of 1 and two point perspective drawing.

In your sketchbook draw 10 thumbnail drawings of 1 point perspective (each thumbnail should be in different positions relative to 'you' the observer). Make sure to include the eye level and vanishing point in each drawing. Directly below each thumbnail you will create a larger version of the thumbnail drawing using the small thumbnail as a reference (without the eye level and vanishing points). An example is below.

Next, make 10 thumbnail drawings of 2 point perspective. (each thumbnail should be in different positions relative to 'you' the observer). Don't forget to include the eye level and vanishing point. Directly below each thumbnail you will create a larger version of the thumbnail drawing using the small thumbnail as a reference. An example of 2 point perspective is below.

Sketchbook Assignment 6: Linear Perspective (1 and 2 point) DUE: Wednesday, October 27th 2010 (beginning of class)

Perspective drawing is a method of working in two dimensions to create the illusion of a three-dimensional subject. The illusion may be presented as a drawing, painting, or other graphic work. Objects and their environments are depicted on a two-dimensional plane but appear as if viewed in real three-dimensional space.

Perspective theory is often separated into two parts: linear perspective and atmospheric perspective. Linear perspective addresses how the shapes, edges, and sizes of objects change in appearance when seen at different positions relative to the observer. The distance between the object and observer, the attitude (rotation and elevation) of the object and the viewing angle of the observer are all important in linear perspective.


First and foremost -read Perspective Drawing handout given in class on Monday, October, 25th, 2010.

Next, in your sketchbook draw 10 thumbnail drawings of 1 point perspective (each thumbnail should be in different positions relative to 'you' the observer). Make sure to include the eye level and vanishing point in each drawing. An example of 1 point perspective is on page 21 (figure 3.5 and 3.6) in the handout

Finally, 10 thumbnail drawings of 2 point perspective. (each thumbnail should be in different positions relative to 'you' the observer). Don't forget to include the eye level and vanishing point. An example of 2 point perspective is on page 24 (figure 3.10) in the handout.

In the end your 20 thumbnail sketches should look similiar to the examples below.

Sketchbook Assignment 5: Seven Principles of Art Organization DUE: Monday September 27th 2010 (beginning of class)

In visual art, there are basic principles that artists employ to aid in the creation of unique and dynamic imagery. These principles are often used in varying combinations to achieve differing results. In time, these principles become second nature and are employed in a nearly unconscious manner. They are:

Harmony: The pleasing quality achieved by different elements of a composition interacting to form a whole. Often accomplished through repetition of same/similar forms.

Variety: Differences achieved by opposing, contrasting, changing, elaborating or diversifying elements in a composition to add individualized interest. (*in contrast to harmony)

Balance: Sense of equilibrium achieved through implied weight, attention or attraction by manipulating visual elements within the composition.

Proportion: Comparative scale relationship between differing elements within a composition. For example: the size a hand in relation to a head.

Dominance: When certain elements are more important than others in a composition.

Movement: The directing of eye movement in a composition using varying elements.

Economy: Adjustment of the composition to the basic essentials for clarity of presentation, most often associated with abstraction.

Materials: sketchbook, graphite pencils or charcoal pencils

Purpose of project: This project is designed to familiarize you with the basic principles of visual organization. You should be able to describe these terms in comparison to one another and be able to locate them in different visual compositions. Throughout the rest of the semester we will be continually referring to these principles in critiques and one on one discussion of your work

Instructions:
In your sketchbook create at least seven sketches that visually illustrate each of the seven principles of art organization. You may observe and draw from other “found” images you have located in your process of researching images that illustrate the seven principles of design.

Each sketch can vary in size and dimension however, make sure the composition is at least 3” by 3”, if smaller than your sketchbook dimensions make sure to create a boarder.

Once completed, please print name, project title, and specify which principle of design you have drawn. For example: John Doe, Seven Principles of Design, Balance.

7 PRINCIPLES OF DESIGN IMAGE EXAMPLES

ECONOMY

MOVEMENT #1

MOVEMENT #2

DOMINANCE

PROPORTION

RADIAL BALANCE

BALANCE

VARIETY #1

VARIETY #2

HARMONY EXAMPLE #1

HARMONY EXAMPLE #2

Visual Elements Lecture 9/13/10

Visual elements draw

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Sketchbook Assignment 4: Value (2 exercises Step and Gradient Transitions).

This Sketchbook assignment was introduced in class on Wednesday September 8th and is due Monday September 13th, 201o.

Part 1: Create 2 - six step transition drawings (one in charcoal and one in graphite)

Examples are below:

Step Transition (a recognizable and orderly step between values)

Examples:

3 step transitions

5 step transitions

7 step transitions (example of stippling, paint, and cross hatching)

Part 2: Create 2 - gradient transition drawings (one in charcoal and one in graphite) Examples below:

Sketchbook Assignment 3: 15 Postive and Negative Space Drawings

The correct approach to negative space drawing involves observing the shapes formed between different parts of the object, or between one edge of the object and a boundary. By drawing the background spaces or shapes between the edge of the object and the opposing edge or boundary, the positive form of the object is left 'undrawn', resulting in a correct negative space drawing. This is the reverse of normal positive space drawing, where you would be looking at the form and drawing its edges.

Seeing negative spaces correctly is a skill worth developing. Negative space is used a great deal when you want to avoid outlining and create true value drawing. It is needed when you have a texture like light-colored hair or grass, when you need to focus on the dark shadows behind and underneath the strands.

Use the examples below to draw the negative shape of 15 differnt objects. Remember the 'foreground' - the positive shapes of the object you are drawing - are 'left behind' as white paper while the negative space surrounding the objects are drawn with dark charcoal.

Sketchbook Assignment 2: 15 Contour Line Drawings

This exercise should be used in drawing subjects of all sorts. Any objects may be used, although those which have been formed by nature or affected by long use will offer the greatest amount of variation, as a flower, a stone, a piece of fruit, or an old shoe. Draw yourself by looking in the mirror, your own hand or foot, a piece of material. It is the experience, not the subject that is important.

Contour Versus Outline. ‘Contour’ is commonly defined as ‘the outline of a figure or body,’ but for the purposes of this study we are making a definite, if perhaps arbitrary, distinction between ‘contour’ and ‘outline.’ We think of an outline as a diagram or silhouette, flat and two-dimensional. It is the sort of thing you make when you place your hand flat on a piece of paper and trace around the fingers with a pencil –you cannot even tell from the drawing whether the palm or the back of the hand faced downward. Contour has a three-dimensional quality; that is, it indicates the thickness as well as the length and width of the form it surrounds. We do not think of a line as a contour unless it follows the sense of touch, whereas an outline may follow the eye alone.

Materials: Use a 2B (medium soft) drawing pencil with a very fine point and a piece of paper in your sketchbook.

Exercise 1:

Spend 30-45 minutes making (five) contour line drawing of one subject (your choice) in one fixed point of view.

Exercise 2:

Spend an hour making (five) cross-contour line drawing of a different subject (your choice) in one fixed point of view.

Exercise 3:

Spend 15-20 minutes (five) blind contour line drawing(s) of your hand in one fixed point of view.

Contour- The line that defines the edges of an object or shape.

Contour Line Examples:

Cross-contour- A line that defines surface undulations between, or up to, the outermost edges of shapes or objects.

Cross Contour Line Examples:

Blind Contour Line Examples: