General Outline Altered- And Archive View
(this page is a copy of a page that was altered F 2011. Abstraction, Subtractive photocopy, striped fabric and statue copy altered was eliminated.)
List of A&D 113 Drawings Fall 2009 Grace Benedict O’Brien/Drawing Coordinator
ABSTRACTION There are many ways to abstract. This simple exercise uses a section of any previous 113 drawing that has areas of highly developed visual information. Use a window mount or viewfinder at any axis to find and isolate these sections until you see something unexpected and intriguing. Record basic visual information (gesture) from this section then assign arbitrary values or reverse values, heighten movement or texture or deepen the sense of space. In other words, use this opportunity to stimulate imagination and expression.
DRAPERY: A maze of hanging drapery creates an environment that is experienced in an unusual way. There is great gestural movement, a wonderful play of light and shadow, and layering of the space through overlap, transparency and tonal relationships to explore. Students sit within the environment or on the perimeter and use a variety of charcoals to interpret their surroundings.
GENERAL PERSPECTIVE 1 point perspective exercises. 2 point perspective exercises using stacked cartons. The limited use of values on flat planes is introduced. Round objects in perspective is taught. Development of an interior drawings results.
GESTURE Searching lines, sustained gestures, mass gesture. Object study with multiple views. Still life may also be used to create spatial relationships within the whole.
GRAPHITE The graphite pencil in its manufactured form, is a versatile drawing media. 9B is the softest while 9H is the hardest. Graphite lends itself to contour drawings and building linear notations, and tonality through directional hatchings and cross-hatchings. With soft pencils, it is possible to use various techniques: direct application, smudging (stumping) and dissolving graphite into a wash with solvent. Other variations are graphite sticks, and powdered carbon.
LANDSCAPE STUDY Combining dry media to represent the masses and textures of the landscape teaches the student to explore mark-making, erasing and rebuilding drawing methods.
LINE Blind Contour, continuous contour, varied line contour, negative space contour. Open and closed compositions.
LINE HATCHING AND CROSS CONTOUR
OBJECT STUDY Changing your point of view of an object allows you to heighten observation and strengthen composition by exploring placement within your picture frame. Record basic visual information first (gesture) or create quick thumbnails to explore important characteristics. Experiment with position and placement and be selective if there are parts you want to emphasize. Once the subject is arranged (twice) to offer the strongest interest, explore different media to bring out structure, tonal areas or a sense of light. A final drawing can juxtapose these 2 views on the same page (either within a border or merging more freely on the page). Overall, respond to what is similar in the drawings since the object is repeated (harmony), and how your interpretations show differences (diversity).
ORGANIZATIONAL and PICTORIAL SPACE Students will identify a zone or space that is filled with scattered objects of varying sizes which have bee placed in the room. The line where the floor hits the wall can be used as a control to help determine the space within the drawing. Sighting and measuring will help to relate all objects to one another in this space.
A process of additive and subtractive drawing is encouraged by dividing the picture frame vertically into two parts.
PEN AND INK Drawing inks can be used full strength or diluted for wash techniques. The mark-making vocabulary of drawing with ink can extend from scribbled and drawn marks to fluid brush strokes, to thin transparencies and splatters. Some methods demand precise and subtle control. For sketching purposes, nylon, felt-tip, ballpoint and marking pens all offer convenient substitutes for traditional pen and ink which utilizes pen nibs, quill pens, reed pens, bamboo pens and metal pens. Value, texture and pattern can be amplified by pen, brush and ink.
POSTIVE/NEGATIVE Drawing the negative spaces
REFLECTIVE OBJECTS This drawing explores the effect of light on reflective objects. Tonal integrity is sought through an understanding of the overall value pattern. Graphite and/or mixed media.
REVERSE VALUE On black paper, the values are reversed, using a reverse value scale and white conte or white pencil.
SELF PORTRAIT One mid-term and one final self portrait study is required. Features are first explored individually for structure. Guidelines and demonstrations are used. Instructors can designate media to be used.
SIGHTING Exercises use vertical, horizontal and diagonal references to organize the drawing. Reference is made to the frame as well as making decisions about the orientation/axis of the drawing. Guidelines for sighting the proportions of the head from a profile view may also be taught.
SKELETON The skeleton is a complex subject matter that addresses volume, through the skull, ribcage and pelvis, as well as the interconnectedness of limbs and vertebrae. In this exercise, the focus was not only on the careful observation of the skeleton but using composition and value for expressive means.
STATUE COPY ALTERED: This independent project uses a photocopy of a statue or portrait bust which is manipulated or altered in a physical way. Students experiment with value, tromp l’oeil and cast shadows. Photocopy collage can create ways to vary scale, distort the image, fracture and change the perspective to guide the drawing. A creative, subjective approach to this translation of a photocopy sustains the execution of the drawing.
STRIPED FABRIC: What starts out as a square of striped fabric, when draped and curved, becomes an exercise in creating moving, curving planes in contrasting values. A gestural approach helps to establish general movement and tones. Further investigation shows the influence of light on undulating surfaces, where keen understanding of the value scale through modeling and placement creates a convincing illusion of dimensionality.
SUBTRACTIVE PHOTOCOPY These are portrait drawings developed from photocopies students make of themselves. They can begin with a reductive drawing process from a page toned with charcoal. Light and tone is used to resolve all areas of the drawing. The results tend to be soft and out of focus, and often distorted by the flattening of the face on the copy machine. There will be a sense of coming out or going into darkness.
TONED PAPER Students are asked to cover the page completely with red or sanguine conte. Students use both additive and subtractive drawing processes to create a variety of tones.
VALUE and TEXTURE Active drawing is maintained for the interpretation of textures. Choice of media can include ink/ink wash as well as dry drawing media.
VALUE Cross-contour studies use round and other still life objects. Drapery, and striped cloth are also explored. Instructors can choose to limit the number of values. Students create a value scale.
VALUE Paper bags are used to explore edges, planes and amount of contrast. An emphasis on light and cast shadows help to create an awareness of space.
WAX RESIST: Students use a selection of crayons to establish their compositions. Areas of the drawing can be divided to emphasis experimental use of the media which can include ink and watercolor wash and layering of the wax crayons.