Last night the class made drawings exploring line quality and gesture techniques.
Chelsie's drawing is an example of the cross-contour approach. Lines move across the frontal contours wrapping the form. There are no outside contours. Notice how she has established a light source by darkening the lines on the left side of the gourd.
Ian's drawing illustrates the continuous-contour method. Lines follow the contours wrapping the form in a cage-like structure. Notice how he has rephrased the outside contours searching and correcting as he moves around the form.
Dalton's drawing is a scribble gesture. Lines fill the form in a tangled web capturing the mass of the form as well as the light. In addition, scribble gestures tend to exhibit textural qualities too. Depending on the mark-making, some are course whereas others may appear soft like lamb's wool.
Michelle has made a drawing that focuses on the negative areas within the still life arrangement. By using the mass technique of drawing with the broad side of compressed charcoal, she addresses the shadows, pockets and valleys around and within the forms. The objective is to "suggest" the forms. Her composition is very well balanced with an wide range of values addressing form as well as space.
Last night we continued working with the Ideal Solids and arranging them within a composition. First we discussed the Distal Cues (see tab above for more info) as well as "cropping" and engaging the negative areas and the edge of the composition by touching 2 to 3 sides of the paper. Alonda's drawing at the top, touches two sides. The objects are well placed and balanced across the composition. Her light source is consistent and the objects are proportional exhibiting a sense of volume and weight.
The objects of Ashley's drawing are also well proportioned and placed well on the paper. In addition, she has very effectively used value for volume, light and texture. A very powerful and dramatic image.
Last night the class made drawings of the five Ideal Solids. We explored the various applications of the charcoal medium and erasers for creating light and form as well as a sense of texture. Click on the menu tab above for more info on these standard, geometric forms.
Bret has created an ambiguous cube by joining one of the planes on both. The shared plane is simultaneously addressing the top of one as well as the bottom of the other. The patches of tone in the negative areas helps balance the dark values on the cube as well as suggesting a sense of atmosphere and depth.
Drew has skillfully rendered the volumes of a cylinder with even gradations addressing the categories of light. (Click the menu tab above for more info on the categories of light). The strong contrasting values are complementary to the dark environment of the negative space.
Gavino's drawing illustrates a more subjective approach to rendering the categories of light and texture. The dark, wavy edge of the shadow is reminiscent of an alligator's mouth which is further enhanced by the reptilian texture.
Kendra's drawing exhibits a soft and ethereal quality. The light application of tonalities and the absence of a cast shadow allows the form to float as if the viewer is in a dreamy, trance-like state.