Compare the scale of one shape in relation to another shape.
Pay attention to where shapes line up with other shapes.
(Think about the horizontal and verbal alignments in your drawing)
Homework Assignment # 2: Model in Thematic Representational Environment
Assignment Summary:
Create a new drawing by copying a figure drawing completed (from a long pose) in class and within this new drawing depict the figure in a thematic environment. The figure and in particular the environment should formally depict a progression of space. Utilizing and/or thinking about light source will also be beneficial for the drawing.Size: 18 x 24 inches on white cartridge paper
(If you wish to use other types of paper, discuss paper options with instructor)
Materials: Tonal Drawing on white cartridge paper (18 x 24 inches) using a choice of black charcoal with charcoal pencils, and/or black & white conte sticks.
(Instructor recommends black & white conte)
Objectives of Assignment:
-To demonstrate the ability to depict mass and planes (figure and other subject matter) in relation to space while utilizing variations of light and shadow in a black and white drawing.
-In order to get space depicted in the drawing assignment, incorporate a room with a window with a view to the outside, or open doors, or walls that angle into space. (generally more detail, higher contrast and sharper edges required in foreground with a gradual progression of out of focus edges, less contrast and detail towards middle ground to background areas)
-Explore various drawing sensibilities from controlled to manipulated and expressive mark making on drawing surface.* (generally more control and detail required in foreground with a progression of more expressive mark making towards background).
-This assignment is meant as a culmination of the various black and white drawing materials and formal ideas experienced within this figure study course.
-For this assignment and as in the previous homework assignment people will be expected to develop themes in relation to subject matter as well as their formal approaches to drawing materials.
Subject Matter:
Select volumes, planes and space that will present a definite sense of foreground, middle ground, and background (deep space) in the drawing. Generally a combination of organic and geometric shapes will give a composition good visual variety in the drawing.
*This assignment requires an emphasis of drawing from observation but you can also incorporate an expressive interpretation which should connect to the themes and concepts in the work, but do try to have more detail and clarity as subject matter progresses to foreground. Select expressive characteristics should appear intentional with in the context of observational drawing.
Thematic Content:
Here again the use of thematic content is an important concern. As discussed in previous homework assignment Thematic Content may involve choosing symbols, metaphors, allegories, narratives, myths, icons, motifs or combining some of these choices.
Thematic content may also be like a word in a poem where a given word has multiple layers of meaning but connects to the poem’s overall theme. Once again you as the artist have the goal of trying to bring multiple layers of meaning into the completed assignment.
Formal Issues and Examples of Various Black and White Drawings:
Below are links which may assist in researching formal issues when depicting subject matter in black and white drawings. These are ideas in the links below have been covered in class and in the previous homework assignment in course.
This link below will present examples and ideas about drawing objects.
*This link will also present various formal issues that will include: process of drawing, additive and subtractive layering of mediums, mark making, mixing of black and white mediums, strategic depiction of (or lack) of detail and contrast.
*Variation of edges in shapes from sharp edges (hard edge) to soft edges (blurry edges) and all of these issues considered in relation to space and composition.
http://derekbruecknercourseinformation.blogspot.com/2008/04/blog-post_12.html
This link below will offer some formal examples of drawing exteriors using various options of black and white materials. Over all these examples in the link below present a very good depiction of deep space and in some examples offer a very good use of atmospheric perspective.
http://derekbruecknercourseinformation.blogspot.com/2009/04/exterior-rendered-drawings.html
2 Examples of Assignment by Students:
EVALUATION CRITERIA:
Thematic Content (20%)
Thematic Content may involve choosing symbols, metaphors, allegories, narratives, myths, icons, motifs or combining some of these choices.
Connecting Thematic Content with Formal (5%)
How does the formal ideas in the work connect with the Thematic Content?
Formal Ideas in Work (75%)
Formal Ideas Evaluation Breakdown:
Anatomical Proportions (35%):
As in the line drawing assignment proportions of the figure will be very important for assignments in the figure study course.
Layering Process (10%):
Begin the drawing with basic planes of light and shadow, gradually build up drawing thinking about the flowing ideas below. Mistakes are inevitable, consider a layering and editing process as you gradually accumulate layers on the drawing. Consider additive and subtractive processes but do not obsessed with perfection during the early stages of the drawing. For gesture drawing you will need to rely on repetitive practice and instinctual processes more.
Strategic Use of Detail (10%):
Through practice the goal is for a refined rendering style that offers a strategic use of detail and high contrast in the foreground. Ideally the drawing will progressively decrease in detail and contrast as the viewer reaches the background. Do not get overwhelmed with the need to have detail and precision in the entire drawing.
Strategic Use of High and Low Contrast (10%):
Increased contrast can assist the edges in the foreground to appear sharper, while the edges of forms in the background begin to slightly dissolve if contrast is low.
Strategic Use of Hard and Soft Edges (10%):
Generally hard (sharply in focus) edges should be in foreground areas while edges progressively become softer (out of focus) as shapes progress to background
Blind Contour Drawing / Gesture Drawing (Line or Planes of Light and Dark) and Short Poses
Blind Contour Drawing
Pencil
Blind Contour Drawing
Pencil
Pencil
Blind Contour Drawing
Pencil
Pencil
Blind Contour Drawing
Pencil
Pencil
Line Gesture Drawing (1 min pose)
Pencil
Line Gesture Drawing (1 min pose)
Pencil
Line Gesture Drawing (1 min pose)
Pencil
Line Gesture Drawing (1 min pose)
Pencil
Light & Shadow Gesture Drawing (1 min pose)
Woodless Pencil or Graphite Stick
Light & Shadow Gesture Drawing (1 min pose)
Woodless Pencil or Graphite Stick
Light & Shadow Gesture Drawing (1 min pose)
Woodless Pencil or Graphite Stick
Light & Shadow Gesture Drawing (5 min pose)
Woodless Pencil or Graphite Stick
Light & Shadow Gesture Drawing (5 min pose)
Woodless Pencil or Graphite Stick
Light & Shadow Gesture Drawing (12 min pose)
Woodless Pencil or Graphite Stick
Light & Shadow with Cross-Section Gesture Drawing (12 min pose)
Vine Charcoal
Light & Shadow Gesture Drawing (5 min pose)
Charcoal with additive and subtractive drawing processes
Light & Shadow Gesture Drawing (5 min pose)
Conté
Line Drawing Objectives/Requirements
Layering Process (10%): As in most drawings for this figure study course Line Drawing is a layering process that starts tentatively (drawn lightly and rough with fluid line) A line drawing in early stages initially maps out subject matter (and ideas) in basic shapes (planes and other basic shapes) No detail in beginning stages of figure drawing.
For longer poses, tentatively (lightly) map out entire composition before committing to detail or exact locations of shapes. Overall anticipate at times a messy process of restating and editing to occur during the layering process. Neatness, detail, contrasted (darker and thicker) line will strategically occur in later stages of layering process. Generally the line drawing should be a record of thought processes depicted through layering and primarily additive revisions. There should be very minimal use of the eraser! (Never use an erasure during very short poses and gesture drawings)
Accurate Proportion (and sometimes Perspective) (45%): Utilize measurements, and horizontal/vertical alignments when working with the figure from observation.
For the sake of proportions if possible it is most ideal to start the drawing in the center and usually from the torso area, working directly out and around from an initial shape (that is usually rectangular or square in shape such as the torso). Use initial shape (usually the torso) as a building block and as a reference for comparing proportion and choosing composition.
When working from observation as an option general theories of perspective (vanishing points & horizon line) can be used but only at later stages of drawing. Perspective (as an option) can sometimes be used auxiliary tool for checking accuracy of proportions, scale, etc. Whether working from observation or constructing an imaginary scene do not lock into horizon line and vanishing points until proportions are resolved.
Fluid Line and Various Line Characteristics (20%) : Fluidness and strategic use of line weight variation will bring depth of space, sense of 3 dimensional masses, character and life into the drawing. Repetition and taking the time to practice and figure out a way to enjoy the act of drawing will always improve line characteristics or qualities in any drawing process. In the early stages of the line drawing keep the line thin and light. As the drawing develops towards the later stages anticipate variations of line characteristics to include ranges from curved to angular, quick to careful line applications on the drawing surface and in some areas progressions from thin to thick lines and light to dark lines. (Let the line flow!)
Strategic Use of Detail (12%): Anticipate that progressively there will be less detail as the viewer moves back into space of the picture plane. Some forms on the model/figure and any objects or planes surrounding the figure may require various levels of detail in foreground and at times in the middleground. This is the final stage of the layering process. Make time to allow for some careful finishing touches and to strategically refine or layer over rougher areas in the work.
Mass/Volumes & Space (10%): Clear depiction in the illusion of 3 dimensional forms in space that progresses in a clear manner from foreground to background. Over lapping of forms and strategic use of detail, line variation, angles and composition will all be crucial in achieving a strong illusion of 3 dimensional mass and depth of space.
Composition (3%): Locate an interesting view with a reasonable level of difficulty that is unique and has complex interactions of shapes through out picture (including border of drawing) and choose a composition that is conducive for presenting the objectives for the assignment. In terms of composition also consider how the white space of the page works around the figure and within the negative spaces created by the figure.
For longer poses, tentatively (lightly) map out entire composition before committing to detail or exact locations of shapes. Overall anticipate at times a messy process of restating and editing to occur during the layering process. Neatness, detail, contrasted (darker and thicker) line will strategically occur in later stages of layering process. Generally the line drawing should be a record of thought processes depicted through layering and primarily additive revisions. There should be very minimal use of the eraser! (Never use an erasure during very short poses and gesture drawings)
Accurate Proportion (and sometimes Perspective) (45%): Utilize measurements, and horizontal/vertical alignments when working with the figure from observation.
For the sake of proportions if possible it is most ideal to start the drawing in the center and usually from the torso area, working directly out and around from an initial shape (that is usually rectangular or square in shape such as the torso). Use initial shape (usually the torso) as a building block and as a reference for comparing proportion and choosing composition.
When working from observation as an option general theories of perspective (vanishing points & horizon line) can be used but only at later stages of drawing. Perspective (as an option) can sometimes be used auxiliary tool for checking accuracy of proportions, scale, etc. Whether working from observation or constructing an imaginary scene do not lock into horizon line and vanishing points until proportions are resolved.
Fluid Line and Various Line Characteristics (20%) : Fluidness and strategic use of line weight variation will bring depth of space, sense of 3 dimensional masses, character and life into the drawing. Repetition and taking the time to practice and figure out a way to enjoy the act of drawing will always improve line characteristics or qualities in any drawing process. In the early stages of the line drawing keep the line thin and light. As the drawing develops towards the later stages anticipate variations of line characteristics to include ranges from curved to angular, quick to careful line applications on the drawing surface and in some areas progressions from thin to thick lines and light to dark lines. (Let the line flow!)
Strategic Use of Detail (12%): Anticipate that progressively there will be less detail as the viewer moves back into space of the picture plane. Some forms on the model/figure and any objects or planes surrounding the figure may require various levels of detail in foreground and at times in the middleground. This is the final stage of the layering process. Make time to allow for some careful finishing touches and to strategically refine or layer over rougher areas in the work.
Mass/Volumes & Space (10%): Clear depiction in the illusion of 3 dimensional forms in space that progresses in a clear manner from foreground to background. Over lapping of forms and strategic use of detail, line variation, angles and composition will all be crucial in achieving a strong illusion of 3 dimensional mass and depth of space.
Composition (3%): Locate an interesting view with a reasonable level of difficulty that is unique and has complex interactions of shapes through out picture (including border of drawing) and choose a composition that is conducive for presenting the objectives for the assignment. In terms of composition also consider how the white space of the page works around the figure and within the negative spaces created by the figure.
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