Monday, November 27, 2017

FINAL DRAWING FROM PHOTOGRAPH Due Date: Tuesday, DEC. 12th 3:30pm-5:30pm

BEGINNING DRAWING ART 111-1 ASSIGNMENT SHEET
FINAL

MATERIALS:
• Compressed & vine charcoal                    • Charcoal pencils (full range)
• Graphite Pencils (Full Range)
• Eraser                                                        • Ruler
• 1/2 Sheet Drawing Paper                          • Measuring stick & view finder


SUBJECT MATTER:
4x6 (Black and White) Photograph highlighting light to form and texture

GENERAL GOAL: Think of all the techniques learned thus far (value, integration, light to form, pos/neg shape, open/closed form, etc.) to create a drawing, from your chosen photograph. The Photograph should be of good quality and of good composition.  Reflect on the principles of design when translating your photograph.  In the end, you will decide which principle of design your photograph is similar to (can be more than one) and create a final charcoal or graphite drawing on a HALF sheet of drawing paper.  This assignment focuses on translating from a visual reference rather than actual life.

GENERAL INSTRUCTIONS:
            • Take a photograph or obtain a photograph and have it approved by Prof. Pena.
• Translate your photograph to your half sheet of paper.
• Decide which principle of design your photograph is similar to and translate the principle in the final drawing.
• Be creative!  Now is your chance to really push the boundaries of what’s represented in the photograph and the principle of design your translating.

GENERAL QUESTIONS FOR GRADING:
• Were the basic instructions understood and followed?
• Does the work fail to meet, meet or exceed the basic requirements of the assignment?
• Were the proper materials used?
• Did you participate during the final critique?

GRADING CRITERIA:
• Translate the illusion of light and form from the photograph to your drawing.
• Use a range of values (as definer of edges and complexity).
• Show multiple textures (as definers of form and complexity).
• Accuracy (scale, position, continuity of edge).
• Composition (balance in scale of shapes)(originality).
• Craftsmanship
• Giving constructive criticism during the final critique on May 7th

Photo Critique:  November 30th Beginning of Class

Critique #1:  December 5th Beginning of Class

Critique #2: December 7th Beginning of Class


DUE DATE:

Tuesday, DEC. 12th 3:30pm-5:30pm - We will meet during our assigned finals time to critique the work.  We will stay until we are finished and your attendance and participation of giving constructive criticism during the critique will be assessed and points will be given for that final grade.


Good AND Bad photos for Drawing


 GOOD EXAMPLES






  



BAD EXAMPLES








Sunday, November 26, 2017

Project 5: STILL LIFE EMPHASIS ON TEXTURE DUE DATE: Due Date: Tuesday, DEC. 12th 3:30pm-5:30pm (beginning of class)

BEGINNING DRAWING ART 111-1 ASSIGNMENT SHEET 
STILL LIFE EMPHASIS ON TEXTURE

MATERIALS:
• Compressed & vine charcoal • Charcoal pencils (full range)
• Graphite pencils (full range)        • Measuring stick & view finder
• Eraser                 • Ruler
• Full Sheet Drawing Paper


SUBJECT MATTER:
• Various Still Life Objects highlighting texture

GENERAL GOAL: Think of all the techniques learned thus far (perspective, value, integration, light to form, pos/neg shape, open/closed form, etc.) to create a drawing, from the still life.  Reflect on and label the principles of design for each of your 10 thumbnail sketches.  In the end, you will reference one of your thumbnail sketches to create a final charcoal drawing on a full sheet of drawing paper.  This assignment focuses on texture so choose a thumbnail that highlights not just one but multiple textures.  

GENERAL INSTRUCTIONS:
• Make at least 10 thumbnail drawings in your sketchbook before you decide on your final composition.
• Experiment with open/closed composition, view point, etc.
• Be creative!  Move around the still life and find new perspectives when drawing.

GENERAL QUESTIONS FOR GRADING:
• Were the basic instructions understood and followed?
• Does the work fail to meet, meet or exceed the basic requirements of the assignment?
• Were the proper materials used?

GRADING CRITERIA:
• Create the illusion of plastic form in space.
• Use a range of values (as definer of edges and complexity).
• Show multiple textures (as definers of form and complexity).
• Accuracy (scale, position, continuity of edge).
• Composition (balance in scale of shapes)(originality).
• Craftsmanship

Critique #1:  November 16th, 2017 (10 sketches from still life due at the end of class)
Critique #2:  November 21st, 2017 (placement, scale, composition)
Critique #3:  November 30th, 2017 (Value & Texture)
Critique #4:  December 5th, 2017 (Value & Texture)
Critique #5: December 7th, 2017 (Final Touches / check value structure)

DUE DATE: Tuesday, DEC. 12th 3:30pm-5:30pm(beginning of class)









Thursday, November 16, 2017

PRINCIPLES OF DESIGN PRESENTATION - LABEL YOUR THUMBNAIL SKETCHES WITH THE PRINCIPLE EQUIVALENT -DUE: TUESDAY, NOVEMBER 21st, 2017 (beginning of class)


Seven Principles of Art Organization


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, your 10 thumbnail sketches



Purpose of Assignment: This assignment 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 LABEL YOUR 10 THUMBNAIL SKETCHES (See Example Below). Throughout the rest of the semester we will be continually referring to these principles in critiques and one on one discussion of your work

  Principles of Design PRESENTATION

Monday, November 6, 2017

Sketchbook Assignment 6 Texture and Pattern DUE: Tuesday, Nov. 14th (At the Beginning of Class)


Texture and Pattern in Inorganic/Organic Drawing


When we look at the world about us, we are conscious not only of form, space, color, dark, and light, but also of tactile qualities, a sense of the feel of surfaces, of roughness and smoothness, hardness and softness –texture. Skillfully used, texture can contribute significantly to expressiveness; lacking a decisive sense of texture, a drawing tends to appear lifeless and weak. The textural character of a drawing is determined by several factors, including the surface portrayed, the drawing materials employed, the method of application, and the artist’s sense of invention.

Texture: refers to the properties held and sensations caused by the external surface of objects received through the sense of touch.

Actual Texture - Physical, tangible texture. Real textures are textures that really exist. They are what you feel if you touch the actual artwork. Physical texture is the texture you can actually feel with your hand. The build up of paint, slipperiness of soft pastel, layering of collaged paper.

Simulated Texture - Creating the visual effect of texture without actually adding texture.

Abstract Texture- Texture that does not seem to match the object it’s connected with so it has the concept of the object translated in textural patterns.

Invented Texture - The creative way of adding alternate materials to create an interesting texture.

Materials: sketchbook, graphite and charcoal pencils (experiment with both)

Purpose of project: Direct observation of the endlessly intriguing details of nature should be added to your repertoire of sketchbook activities. Familiarize yourself with the identifying characteristics of various textures that surround you – inside (i.e. carpet, food, furniture, etc) and landscape (trees, asphalt, etc.)

Instructions:
In your sketchbook create at least twenty 3"x 3" sketches that visually illustrate the qualities of texture. 

For example, you may choose to familiarize yourself with the identifying characteristics of various organic materials by making quick sketches, both as silhouettes and with simplified shading to define volume. see Ex. #1 

You may choose to familiarize yourself with the identifying characteristics of various man made materials by making quick sketches, both as silhouettes and with simplified shading to define volume. see Ex. #2  

You may choose to illustrate the textural differences of the rind of an orange or lemon in comparison to the fruit itself. 

You may also choose to light the forms to show contrast between light and dark.

Below are both examples that meet the requirement for the assignment and inspiration:
Please follow this criteria for your sketchbook assignment: 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.

EXAMPLES THAT MEET THE REQUIREMENTS OF THE A#6

Example #1

Example #2


Example #3

Example #4

Example #5

EXAMPLES THAT ARE INSPIRATION FOR A#6



Monday, October 23, 2017

Sketchbook Assignment 5: VALUE Due: Thursday October, 26th at the beginning of class

Sketchbook Assignment 5:  Value (Local Value, Step and Gradient Transitions).


Part 1: Using your graphite pencils record the pencils local value by crosshatching a controlled rectangular shape on a sheet of paper in your sketchbook.  Assign a value for each pencil to complete Part 1.  USE THE EXAMPLE BELOW AS YOUR GUIDE.

 





Part 2: Create 2 drawings:
1) STEP transition rectangles

Step Transition -a recognizable and orderly step between values

2) GRADIENT transition rectangles   

Gradient Transition - a seamless transition between values



For this exercise create:

  1. step transition rectangle with 7 steps (see ex. below)
  2. gradient transition rectangle directly underneath using a range of 6B (darkest) through HB (lightest) pencils.

First, mark out seven, 1 inch-wide boxes and fill in the first box with your darkest value. **SEE EXAMPLE DIRECTLY BELOW** 


Second, fill in the 2nd box with your second darkest value. **SEE EXAMPLE DIRECTLY BELOW** 

Third, fill in the 3rd box with your third darkest value. **SEE EXAMPLE DIRECTLY BELOW** 

 Fourth, fill in the 4th box with middle gray value. **SEE EXAMPLE DIRECTLY BELOW** 

Next, Lightest Value

Next, Lightest Value





In the end, your drawings should look close to THE EXAMPLES DIRECTLY BELOW** 


Note the Gradient Transition Directly Below the Step Transition Drawing 

Sunday, October 22, 2017

Project 3: LIGHT ON SPHERE --DUE DATE: THURSDAY, Nov. 2nd (at the end of class)

BEGINNING DRAWING ART 111-1 ASSIGNMENT SHEET
RELATIONSHIP OF LIGHT TO PLASTIC FORM
PRIMARY AND SECONDARY LIGHT ON SPHERE

MATERIALS:
• Graphite Pencils (Full Range)                       • Eraser
• ½ sheet of drawing paper                              • Ruler

SUBJECT MATTER:
• Sphere

GENERAL GOAL: Create a drawing that is the illusion of light defining plastic form.  Understand and locate the seven aspects of light to help create this illusion.

GENERAL INSTRUCTIONS:
• Allow the primary light source to (clamp light) to be the spot.

• Allow the secondary light source to be the ambient light.  Observe the sphere thinking of the negative shapes first when deciding how to compose the subject.

• Start your drawing thinking in terms of general to specific, first using 2h graphite (light marks) and work towards 3b graphite (darker marks).

• Once the composition is set on your paper, use your full range of graphite pencils to make a series of value transitions from light to dark.

• Using a range of values make shapes on your paper representing plastic form by using “open and closed form”, “gradient transitions”, and the “language of light”.

• By the end of your drawing process you should have represented the sphere integrating into an illusion of space and light.

GENERAL QUESTIONS FOR GRADING:
• Were the basic instructions understood and followed?
• Does the work fail to meet, meet, or exceed the basic requirements of the assignment?
• Were the proper materials used?

GRADING CRITERIA:
• Create the illusion of space and illusion of form (sphere).
Full range of values using hatched and cross hatched lines as definer of edges and complexity (rather than using smudged graphite).
• Accuracy (scale, position, continuity of edge).
• Composition (balance in scale of shapes)(originality).
• Craftsmanship


DUE DATE: THURSDAY, Nov. 2nd (at the end of class)





Generic computer generated "light to form" illustration highlighting the phenomenon of light effecting a sphere.



Example of a Beginning Students drawing of light affecting form. 

Note the transitions of value and how the student created the illusion of light effecting form by using the techniques of hatching and cross hatching while building the appropriate values.

Wednesday, October 4, 2017

PERSPECTIVE QUIZ 10/10/17 AT THE BEGINNING OF CLASS

In reviewing for the Linear Perspective exam students should go over the content found in the “Linear Perspective Handout” and any discussions / demonstrations learned in class during the past few weeks.  The exam will consist of 5 true/false, and 10 multiple-choice questions.   Students will need to review all highlighted (bold) terms and definitions found in the handout.

Some but not all of the terms are found below:
Linear Perspective
Atmospheric Perspective
One-Point Perspective
Two-Point Perspective
Picture Plan
Horizon Line
Eye Level Line
Parallel Lines
Vanishing Point(s)
Station or Fixed Point
Line of Sight
Viewpoint
Receding
Diminishing Forms
Converging Lines
Overlapping
Foreshortening
Measuring Stick
Viewing Frame
Proportion

Quiz date: Tuesday, October 10th at the beginning of class


****STUDENTS WHO NO LONGER HAVE A COPY OF THE HANDOUT -CAN FIND A COPY IN THE DRAWING ROOM.  IF YOU MAKE A COPY, YOU MUST RETURN THE ORIGINAL TO THE CLASS ROOM FOR THE NEXT STUDENT.