VALUE PATTERNS: Deep Space

Deborah Hadley

Students continued working with Value Patterns today.  In the first project, students were to make a shallow space.  In the second painting, students tried to suggest a deeper sense of space by employing gradations and the rules of atmospheric perspective.

PORTFOLIOS DUE THURS. JUNE 30

All work should be presented in a hard bound portfolio: large tote, plastic portfolio, two pieces of cardboard duct-taped, etc.  Folded, torn, rolled work will be rejected.
PORTFOLIO
1. Line Dynamics (3 drawings)
2. Parallel Line Drawings
3. Expansion of the Square
4. Compartment Composition (tools)
5. Parts of the Puzzle (4 to 6 collages)
6. Overlapping Contours (3 class drawings, one homework)
7. Value Patterns: Decorative Space
8. Value Patterns: Atmospheric Perspective (Wednesday)
9. One Point Linear Perspective (Thursday)

SKETCHBOOK
1. Line Inventory
2. 4 Lines, 4 Times
3. Balancing the Field (2 or more drawings)
4. Shape Inventory

HOMEWORK
1. Line Inventory
2. Line Dynamics (from in class work, not in sketchbook)
3. Balancing the Field
4. Shape Families
5. Shape Families
6. Shape Families
7. Overlapping Contours (from in class work, not in sketchbook)

VALUE PATTERNS: Decorative Space

Paola Lopez (in-progress)

Students began work on developing paintings addressing Value Patterns and Decorative Space. A decorative space is one of limited depth. The design is started with large shapes and then supported by smaller shapes.  The goal is to establish a rhythm and movement through the use of shapes and values.

HOMEWORK #7: Overlapping Contours

Everyone should have one remaining design from the class project.  Continue with the same approach of erasing lines and adding lines where necessary.  From there, anything goes.  You may use color, mixed mediums or repeat any of the previously explored techniques.

OVERLAPPING CONTOURS continued

Ink Techniques

Value rendering without contours.

How the design begins.

Linear Techniques with graphite pencil.

Class began with a series of value scales. We made one in pencil by rendering tonalities. The next was executed with ink and cross-hatching.  And lastly, students tried their hands with the stippling technique again with ink.
From there, students returned to the overlapping contours project. The project will be complete with a series of four drawings. One exploring linear techniques with graphite pencil. One using tonal rendering in graphite pencil without the evidence of contours or outlines. And one investigating the various methods and applications with India Ink and Pen and Nib. For the last design, students can use color, mixed media or repeat any of the above. Drawings by Bomi Kim (in-progress).

SHAPE: Parts of the Puzzle

Esther Septimo

Jordan Carney

Students completed work on the Parts of the Puzzle project which in essence is a composition problem.  The project was to create at least (4) different compositions using the same (3) elements only changing size, color and the amount of shapes repeated. Esther makes great use of the linear element to divide the field into irregular shapes. Jordan's bold zig-zag line and repeating circles makes for a very confrontational display.

Next we began work on our Overlapping Contours project. Students began by using  a stencil to fill in a full sheet of Bristol. Then they divided the paper into four.  The objective was to create new shapes using line, texture and gradations by continuing to add lines while erasing and connecting existing lines.

HOMEWORK #6: Shape Families continued.

Again, with the Shape Families.  Draw six thumbnails, choose one for a 5 x 7 in. format.  The difference this time is that you can only use one family.  Only squares, or only circular shapes, only biomorphic shapes,  or only triangular shapes like the example above.

NOTAN: Representation and Distortion

Nesho Dimov

Angel Salinas

Students continued with part two of the Compositional Compartments project.  The problem of part two was to draw a tool or other object and reduce it to a silhouette.  In the five rectangles from part one, students placed the representational silhouette and four evolving distortions of the silhouette.  The objective again was to create Notan; harmonious balance between light and dark, positive and negative.
Students also began work on The Parts of the Puzzle project.  First choose a curvilinear shape, one line, and a rectilinear shape.  These will be used in four compositions. Pics to come.

HOMEWORK #5: Shape Families continued.

Brennan Chin

The fifth homework assignment is to repeat #4 in its entirety.  Make six thumbnails and choose one to expand in a 5 x 7 in. format in your sketchbook. Brennan's drawing above perfectly illustrates the assignment. Notice that he has chosen to work with only triangles.  This brings Unity to the composition.  He gets Variety by changing size, texture and value.  Again note how he has repeated similar textures, etc. to help move the "eye" and establish a Direction or Movement.

NOTAN: Expansion of the Square and Compositional Compartments

Katie Bart

Brennan Chin

This morning began with a brief discussion on the Japanese word "Notan"; meaning dark and light.  The theory behind Notan is: positive and negative areas should complement one another. They must coexist without one dominating the other.
The project was to make a collage from a 5 in. square piece of black paper.  The directions were to make a symmetrical image with one dominant shape while maintaining the integrity of the square and to use all pieces  (i.e. no waste).
Next we started on a two part project.  The first part was to create a "ground" of (5) rectangular shapes. Each shape would be one of three values: white, black, or gray. No two shapes can be the same size and no two same values can touch. Some students used dark and light colors instead of black and gray. Students will execute part two tomorrow.

Sierra Iverson

HOMEWORK#4: Shape Families

For this assignment begin with (6) thumbnail sketches exploring the following shape families: rectangular, triangular, circular and biomorphic.  Consider the limitations and benefits of Unity and Variety within your compositions. Also consider the different ways of creating shapes; enclosed lines, opposing values, colors or textures. Your final drawing should be within a 5 x 7 in. format in your sketchbook.  Using pencil or pen. I've intentionally omitted an example image.

SHAPE: Inventory

Noah Wilkinson

Jana Guenther

Class began with another Line Drawing.  The purpose of this drawing was to investigate line quality and to create a sense of depth.  Students made compositions of pure shapes (i.e. circles, squares, rectangles and half circles). Then the entire image area was filled with horizontal or vertical parallel lines.  The method was to use thick, thin, light and dark lines.  Students tried to create depth and define the shapes with the varying line quality in the parallel lines instead of outlining the shapes.

Next we discussed the characteristics and types of shape. Shapes basically fall under two categories: Geometric and Organic.  Geometric shapes are rectangles, squares, circles, etc.  Organic shapes are irregularly shaped; biomorphic or amoebic. Forms from nature are organic as well (i.e. leaves, rocks, people, etc.).

From there we made Shape Inventory studies.  Similar to the Line Inventory, students started with simple renderings of the various types of shapes gradually becoming more dynamic as they moved down the columns of the template.

HOMEWORK #3 Balancing the Field

Repeat the problem addressed in class at home or some other environment.  Locate an interesting design in architecture.  Things to look for would be 1. patterns and 2. textures.  Pay close attention to the principles of design: dominance, movement, unity, etc. In your sketchbook, lay out the composition in pencil and finish of your drawing in ink.  Pay extra special, special attention to the way you use black or dark shapes.  Remember that dark (filled) shapes are heavier than light (open) shapes. Refer to the drawing above as well as the drawings from Thursdays class.

Special Note: Homework #2 was a continuation of the class assignment from Wednesday or in other words finish the work from class at home.

BALANCING THE FIELD

Rebecka Craig

Katie Bart

Class began with a critique of the large scale drawing from Wednesday (Homework #2). From there we discussed Linear and Atmospheric Perspective.  After the lecture we ventured outside to draw compositions based on the architectural designs in our immediate environment; primarily Analy Hall but also the surrounding buildings and landscape.
Rebecka's drawings above exhibits a keen "eye" for repetition and pattern while practicing restraint. The drawing on the left is elegant and proper while the drawing on the right is calm and meditative.  Katie's drawing illustrates the dynamics achieved when employing angular and curvilinear shapes together in the same composition.  The diagonals lead us into the depth of the composition while the half circular shape in the upper left acts as an unexpected- yet visually exciting- intruder sweeping across the grid.

LINE DYNAMICS

Annette Kirchner

Nesho Dimov

Trevor Stroupe

Rebecka Craig

Class began with a lecture covering the Principles of Design. Following the lecture students continued with line studies but on a larger scale.  The objective was to create dynamic compositions using the various line techniques investigated on Tuesday with the addition of paying special attention to establishing a sense of depth. Students began with quarter sheets and ended with a half sheet that is to be completed for homework.  We will look at the results of the half sheet compositions first thing tomorrow morning.
Annette's drawing above makes great use of thick and thin lines spiraling into the composition with fluid, wavy lines rising to the surface. Nesho's drawing is a good example of the influence of drawing tools and mediums.  His pen has a brush like tip which allows for calligraphic lines and dry brush techniques. Trevor's drawing exhibits powerful, expressive lines reminiscent of grinding steel. And lastly, Rebecka's drawing illustrates the cool clarity achieved with even, smooth, mechanical lines.

HOMEWORK #1 LINE INVENTORY

In your sketchbook, draw the template used in class.  In the first row of squares, draw a simple but different type of line in each box (curved, angular, etc). As you work your way down the column, try to make the line more dynamic by accenting, multiplying, breaking, etc. Consider the following: 1. the type and mood of the lines 2. the influence of the format 3. the weight of the lines 4. what happens when lines are repeated, intersected, overlapped, enclosed and cropped. Use any ink pen.

LINE: Inventory and 4 Lines, 4 Times

Today we discussed the various types of lines: straight, curved, angular and implied.  Followed by the characteristics of line: 1. gesture- quick and spontaneous, 2. contour- slow and deliberate, 3. cross-contours- topographical lines circling the surface of an object, 4. calligraphic- swelling, thick and thin like handwriting 5. impersonal- cold and mechanical; even thickness and lastly 6. ghost lines- erased. Furthermore, lines can exhibit and evoke qualities like calmness, stability, animation and energy. In addition, when lines are accented or change thickness they may appear to advance or recede, suggest lightness and darkness, or a sense of weight. 

Line Inventory by Mary Carrol

Four Lines, Four Times by Emily Goh

First Day

Today we made introductions and covered the syllabus and materials list.  Tomorrow we will begin discussing the Characteristics of Line.  Students will make Line drawings investigating the various types of lines and their character. We will be using sketch books, pencils, pens, erasers, rulers and templates for making circles (compass or ink bottle).  If we move quickly, we will start line dynamics on the drawing pad.

Preparations

Going through my syllabus, materials list, outline and lectures in preparation for the first day of class.  Very excited to be teaching Art 3 once again.  This is truly my favorite class to teach because of the flexibility and wide range of materials, methodology and applications.