Foundation Drawing Section Z

WEATHER PROJECT

2010-11-29T03:52:00.001-08:00

WEATHER-

the state of the atmosphere with respect to wind, temperature, cloudiness, moisture, pressure, etc.The term is very broad and may include definitions beyond the one presented here. Please consider all possible definitions as it pertains to the atmosphere, actions caused by the atmosphere, etc.

Below are examples of various artist whose work encompasses the concept of weather or a similairity to the concept.

Walter DeMaria

James Turrell

Mark Rothko

Jackson Pollack

Julie Mehretu

James McNeil Whistler

Turner

Claude Monet

Vija Celmins

John Constable

Inspiration from the concept of weather can be diverse, from the trace of weather on the landscape, to the photographic documentation of the temporal, to the prognastication technology, to the forecast format.

Consider a statistical , a atmospheric/ psychological, diagramatical, or documentary perspective. Examples might include: an almanac, weather on your date of birth, recording the weather for 10 days, a singular tree documented through various weather, weather affecting the city, weather changing the pyschological feeling in one location, radar images, storm tracking etc.

The first step in this project is to gather inspiration. With the ten zip- lock bags you have been given, collect inspirational samples. May include sketches, a drawing a day of a particular tree, photos, newspaper clippings, charts, a weathered stone, articles, leaves, recording tide marks, etc. Try and stretch out your normal mode of brainstorming. Remember, the final artwork must be a drawing- it is up to you to decide the format, location, materials, to best express your idea.

Student Work

IDEATION INTRODUCTION

2010-11-17T05:59:00.001-08:00

So far students have developed the skills, sensibilities and competencies that allow them to objectively view, analyze, and represent three-dimensional reality through the practice of drawing. Now they are equipped to apply this knowledge into the realm of the imagination. In this open-ended exercise students will work with the instructor and propose their own individual project program and work plan. This is the first opportunity to apply their knowledge of drawing practice and conventions, in a more creative manner. The standards of evaluation will be tailored individually and determined by the success in accomplishing the particular project objectives as agreed by student and instructor.

In this portion of the course we will explore the process of inspiration and concept, method, and finished drawing. Through this process the goal is to expand the boundaries of drawing while seeking to find personal voice. Below are several examples of artists approaching drawing and ideas from different perspectives.

Mark Lombardi

Marl Lombardi

Robert Rauschenberg

Cia Gou- Qiang

Dane Patterson

Dane Paterson

THE LAST PERSON ON EARTH

2010-11-17T05:42:00.000-08:00

EXTINCTION-In biology and ecology, extinction is the end of an organism or of a group of organisms (taxon), normally a species. The moment of extinction is generally considered to be the death of the last individual of the group (From Wikipedia)

Our project is to use this theme in regard to the human race. What would it be like to be the last person on Earth? What would it mean to be the last example of the human race? Is it a post- apocalyptic environment? Do you try and prolong your life by any means necessary? Is it a cosmic Joke?

There are multiple ways to approach this theme. Some inspiration in movies and art are below.

Book of Eli Click here

I Am Legend click here

The Road click here

Dana Shutz, a contemporary artist create a series of painting about this topic. You will notice a distinctive voice or perspective in regards to this theme of a person all alone. Click here to see images

SKULL and HEAD

2010-11-15T05:56:00.001-08:00

The skull provides the basis for understanding the form of the head. The three large masses of the head are the cranium, the skeleton of the face and jaw. Consider the forms of these masses simply. The cranium as a sphere, the face as a flat plane that descends off the cranium and tapers toward the chin and the jaw as a horse shoe shape that hinges underneath. Notice where the skull protrudes to provide landmarks, where it recedes under the flesh. (Following two examples are from Szunyoghy's Human Anatomy for Artists)

The profile of skull. Notice the ear hole location, not centered but 2/3 of the way toward the back. Also see how the head rests slightly forward on the neck.

Below we have an example from Bridgman's Constructive Anatomy. Here he illustrates some of the muscles in the head. Good to consider as for developing from and gesture in the face.

BEGINNING THE CONSTRUCTION OF THE HEAD

In the construction of the head, it is better to begin with a cube in stead of the familiar oval. The oval is non -specific, the eye won't rest on a curve and cannot find a register point. The cube gives a sense of mass, perspective, foreshortening, angle/ tilt. Also importantly, it gives a sense of the third edge. From this starting point we can begin thinking of planes as they relate to the head - top, front, two sides, back, and bottom.

The basic measurements for the cube are 2/3 wide, 3/3 high. The side of the cube (profile) is 7/8 of the height. ( From the profile it looks ALMOST square, from the front (face) it is a tall rectangle.)

The basic proportions and location of the facial features can be constructed as the example demonstrates (Example is from the website Draw23.)

-A Vertical Line down the center from top of head to chin. Through this line we see the Bilateral Symmetry of the features.

-A Horizontal Line is placed at the halfway point. This indicates the lower lids of the eyes.

- The whole height can be again divided, but this time in thirds. The upper horizontal line indicating the middle of the forehead, the second the base of the nose. In the bottom third, two thirds of the way up to the nose is the center line of the mouth.

- The corners of the mouth line up vertically with the center of the eyes.

- The top of the Ear lines up horizontally just above the eye at the eye brow.

-The bottom of the ear lines up with the base of the nose.

Most of these guidelines can be drawn in on the cube, allowing you to place the head spatially and in perspective.

Below we see an example from Bridgman's Constructive Anatomy demonstrating the planes in the head. These are very basic, but a good way to begin to refine your head form.

Below is an example from Szunyoghy's Human Anatomy for Artists. It further illustrates some of the agreed upon proportions in the head. Included are the space between the eyes equals one eye width. The whole width of the head is five eye widths. Also illustrated is the top and bottom of the ear as they relate to the eye brow and nose (good marker). The width of the nose is also illustrated to be approximately the space between the eyes.

IMPORTANT NOTE*- All these proportions were largely agreed upon during the Renaissance, and are considered guides, not hard and fast rules. they do not necessarily account for the variation of people, races, ages, etc.

Below is another Bridgman example providing some insight into the neck and head the muscles track and connect with the skull. Of particular note is the Streno -cleido- mastoid (#8) a great reference point in figure drawing, spanning from the clavicle to behind the ear.

Student Example

BODY and SKELETON

2010-11-10T04:30:00.000-08:00

ANATOMY- TRUNK MUSCLE STUDY

2010-11-08T04:33:00.000-08:00

VALUE SCALE

2010-10-27T12:02:00.001-07:00

Value scale refers to the gradual movement from Black to Gray to White. A value that is on the upper portion of the value scale is known as being “high key.” And a value that is located on the lower portion of the value scale is known as “low key.”

Arrangement of the these values, their quantities, and their shape can indicate light direction, intensity, and object tactility. A value scale drawing is bound by the number of values chosen, the more chosen, the more accurate the representation.Within a value scale drawing, boundaries between individual shape are left. This allows the value gradation to be seen clearly. It yields a graphic representation of the object.

Value scale- low to high.

A Value Finder- a tool to assist in discerning a true isolated value amidst many. This tool allows the viewer to locate the value within the viewing hole and see it unaffected. Within most complex value relationships of a subject, there is a lot of simultaneous contrast, and fluting making it difficult to see accurately. This Vale Finder is about a 5 on the Value scale- middle.

A simple cup with illumination from the left.

The same cup rendered into a 9 value scale representation. Notice the gradations along the cylinder base. Each value has shape and is progressively darker than the one to its immediate left, allowing the gradation to be seen. The gradation also informs the viewer to the surface of the object. In this case the side of the cup is smooth and curved. The rim of the cup shows a stark transition from interior light to exterior dark, this shows the surface has a dramatic plane shift. Placement, shape, and quantity, indicate how the light is falling over the surface.

This is a representation of the value scale drawing as outlines or boundaries. Value is what gives light information and adds to form.

ANATOMY- TRUNK

2010-10-20T13:44:00.001-07:00

The strength of all figure drawing comes from a mixture of formal skill and anatomical knowledge. Understanding the human body, interior as well as exterior, is essential. Through out history many cultures have preoccupied themselves with depicting the human form. Western Civilization Art reached its investigative height during the Renaissance, also a coinciding focus of science and art. Below is an example of Leonardo DaVinci's Vitruvian Man. This is a clear demonstration of the need to make sense of the human form- in this case the perfection of human form and its relation to the perfect language of Geometry, the perfect circle and square. The figure is inscribed with its proportions measured and reach touching these shapes. Also note Leonardo's proportions for the figure using the measure of a head.

In 1747 we see the example of one of the most accurate representations of the human skeleton in the work of Bernard Siegfried Albinus- Corporis Humani. The following three examples are taken from Drawing Lessons from the Great Masters, Robert Beverly Hale. Here we see the human skeleton displayed not as static, but as if in motion. All bones and structures are presented in fine proportion, accuracy and rendering. Of specific interest is the TRUNK, or the area composed of the Cage and Pelvis. Please note the volume and form of each of these structures and how the artist represented them using line and value. Below is the Ventral position.

The Dorsal Position.

The Lateral Position.

The following four examples are taken from Human Anatomy for Artists by Andras Szunyoghy and Dr Gyorgy Feher. Below is an example focusing on the trunk. Note the relationship of the shapes, proportions, and location of the cage and pelvis. Also see how the top of the cage tapers and slips up into the shoulder girdle (a horizontal ring composed of the clavicles and scapula.) Notice the hollow in the pelvis as it completes the volume of the cage.

Below is an example of just the Cage (or Thorax.) It is important to note the volumetric shape of this structure (the space inside is loosely egg shaped). Again we see the taper at the top, and the opening at the bottom. All ribs radiate from the spinal column and MOST attach at the sternum, some being short arcs others being long loping arcs. It is important to note that these ribs are not cylindrical curves, but thick flat curves, and in most cases with flex joints (look just to the left and right of the sternum to see a plane shift at that junction.)

Below is the Dorsal View of the Cage. Here we see the spinal column and ribs reaching around to the front. Again we see a plane shift on these flat rib shapes- they are not round rings, but a segmented arc (think about breathing and how important it is for some flex to happen.)

In this and the last example note how the artist presented the sense of volume inside the cage, through the ribs we see the continuation of each rib but it recedes through value shift and line (possibly atmospheric perspective!)

Below we see the Dorsal trunk (back) focusing of the shoulder girdle. Note the shape and form of the scapula, where it lies on the cage, the angle at which it rises to meet the clavicle on the front.

Below is an example of the Pelvis take from The Human Figure, Jon H. Vanderpoel. Here we see a good description of contour line as it relates to the undulating form of the pelvis. Notice the butterfly shape of the structure and the hollows within. Important landmarks are the ilium crest (upper most point of the pelvis, the semicircular shapes) and the Ischium (rings at the bottom) and the Sacrum (on the backside the area around the Coccyx)

Here is an example of the Spinal Column (Human Anatomy for Artists) illustrating the three views and most importantly the gentle S- like curve. Notice the shapes of the vertebrae, cylindrical in front and wing protrusions in the back. Also observe the relative size of the vertebrae big to small top to bottom.
Another Example from John Vanderpoel illustrating the angles of these forms with the body. Note how and where they open and constrict on opposite sides.

BASIC PERSPECTIVE

2010-10-17T18:25:00.001-07:00

Perspective- a technique of depicting volumes and spatial relationships on a flat surface.

Linear Perspective - a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point(one-point perspective),two points (two-point perspective), or several points on a horizon line as perceived by a viewer imagined in an arbitrarily fixed position.

Atmospheric Perspective (or Aerial Perspective)- a technique of rendering depth or distance in painting or drawing by modifying the tone or hue and distinctness of objects perceived as receding from the picture plane, esp. by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color.

Picture Plane- An imaginary "pane of glass" at which the viewers gaze meets the illusion created on the two dimensional surface. To extend the analogy, the viewer would trace on this glass the three- dimensional object. Not just the material surface, a concept.

Horizon Line- A level horizontal line located at eye level.

Vanishing Point- A point of convergence of parallel lines located on the Horizon Line.

Scale- The apparent size of an object.

This example illustrates the same object in relationship to the Horizon Line (Above and Below.) Notice whether you can see the top of the cube or the bottom, which way the diagonal lines slope to the vanishing point.

The following Four examples were taken from Basic Perspective Drawing- John Montague.

This example illustrates the top of a cylinder (circle) as it approaches the Horizon Line. Notice how it changes to an elipse and further squeezes to a line.

Piranesi- Prision Series

Rackstraw Downes

Al Held

Student Example

Paraline Drawing Project

2010-10-13T04:11:00.000-07:00

Plan and a Plan Oblique of a Cube:

1. Begin by drawing the top view of the cube. This is a 4" square. This will serve as your Plan.

2. Begin the Plan Oblique by drawing a second square on its corner. With a triangle ruler set the square on a 45 degree angle, be sure to keep the measurements accurate. When finished it will look like a diamond.

3. With ruler, draw vertical, parallel lines from all corners that measure 4" up.

4. From the end point of the vertical left line use the Triangle Ruler to find a 45 degree angle and project it to the end point of the next line segment. Continue to connect line segments at 45 degree angles until the form is complete.

5. The Cube now appears transparent. Erase interior lines so the cube appears opaque.

Oblique drawings from Plan and Elevation:

Plan

Elevation

Result

Analysis and Convention- Paraline & Orthographic Drawing

2010-10-13T04:08:00.001-07:00

Paraline- 3-dimensional drawings where parallel lines remain parallel - Isometric and Oblique

Oblique - Adjective (drafting) -designating a method of projection(oblique projection) in which a three-dimensional object is represented by a drawing (oblique drawing) in which the face, usually parallel to the picture plane, is represented in accurate or exact proportion, and all other faces are shown at any convenient angle other than 90°.

Plan- A view from above.

Elevation- A view of the from the front, back or side.

The following examples are taken from the Basic Perspective Drawing- A Visual Approach by John Montague.

FIGURE- Basic Proportions

2010-09-29T04:47:00.000-07:00

Using the head height as a measurement the figure height is about 6.5 - 8 heads total. Various markers on the body fall along this interval.

A description of the horizontal axis will provide a closer representation of the pose, distribution of weight etc. Notice how the adjustment of the weight causes these Axi to no longer be parallel.

An example of the head measure being used to describe the length of the arm.

FIGURE- Planes and Construction

2010-09-29T04:39:00.001-07:00

Plane- a flat or level surface (no elevations or depressions WITHIN). An area of a two-dimensional surface having determinate extension and spatial direction or position.

Spatial direction and position are important terms for us to consider. This allows the eye to read if a plane is sloped toward or away, what angle , and what the profile of the shape is. Joining of multiple planes begins to create form or the impression of three dimensions. A simple example is to think of a diamond (the precious stone) it has a form that is composed of a multitude of planes or facets. Drawing the human body can be approached this way, thinking of the three big masses (head, rib cage, pelvis) as blocks with cubic limbs extending. Gradually more and more subtle planes can be added making more complex transitions and form. It is best to WORK FROM BIG TO SMALL- the whole to the detail, the big body masses to smaller masses, etc. The following examples are all from Bridgman's Complete Guide to Drawing From Life. These are also presented in an order of process , more or less. Remember basic to more complex.

The 3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are consider blocks (and their proportions) and their stacked position. The twist and bend are easy to see and describe as the relationship of these blocks turn or lean. Essential for carrying the basic movement of the figure.
Horizontal Axis of shoulders, pelvis, knees. This gives an understanding of where the balance is, how the body manages to distribute its weight evenly, and where the body opens or compresses etc.
Basic example of planes going up the back and side (almost two sided at its simplest).What is important to notice is the forward and backward slope as it moves upward or downward.
This is a good way to think about each body part, as a cross section. Is its mass similar to a cylinder, box or pyramid- round, square, triangle.
Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb.
This example of the arm is interesting to see how planes can rise up and dip down as they meet another mass. To use Bridgman's term, they wedge together and interlock.
Planes of the leg from behind, notice how the planes begin to describe muscles.
The torso is a complex structure with a multitude of planes describing its surface. these planes all change as the torso twists and bends. Again we see the muscle groups beginning to be described by planes.

FIGURE -Gesture

2010-09-21T13:50:00.001-07:00

Student Example

Gesture drawing seeks to capture the essence of the pose, its action, its distribution of weight, its dynamism. Expressive use of line , and a basic understanding of proportion and anatomy, accomplishes this. The idea is to observe and capture this through minimal but specific use of mark and not over doing it. It is NOT the goal to go after detail.

Bridgman's "Constructive Anatomy"

Here we see an example of the three masses of the body and how they inter-relate. The three are : Head, Chest, and Pelvis. They can be thought of as blocks connected by the spine." In their relations to each other, they are limited to three possible planes of movement. That is, they may be bent forward and backward in the sagittal plane, twisted in the horizontal plane, or tilted in the transverse plane. Almost invariably, in fact, all three movements are present, to different degrees." - George G. Bridgman

Bridgman's "Constructive Anatomy"

Luca Cambiaso- From Robert Beverly Hale "Drawing Lessons from the Great Masters"

Here we see an example of the board planes of the body. Very simply, imagining each body part as cubic will allow the structure to be constructed easier (and value applied). This allows the artist to see the front and side planes as well as up and down planes and directionality.

Francisco Goya

A good example of the dynamic action of the pose. Notice the point of the foreground figures's swing, highest , furthest back before the forward motion- the body in full stretch before release the potential energy.

Degas

A very refined yet simple drawing of the figure in repose. An example of a short pose and what can be accomplished. Notice the attention to anatomy, proportion, and the quality of line and slight use of value.

Raphael

Another moment of action in the pose. Note the relationship of pelvis to chest to head, the twist and tilt can be seen clearly. Also the concentration of values and lines indicating the pressure and compression in the pose.

VALUE

2010-09-20T04:16:00.001-07:00

Pontormo

Value is the relationships of lights and darks within an artwork.

Key terms:

Simultaneous Contrast- The area of darkest dark adjacent to the lightest light, thereby enhancing the power of the other. This area will draw the eye first and have the most force in an artwork visually.

Local Value- The actual overall value of the object (for example blue jeans are medium value, and a white cup is high value) Corresponding values within the object will relate to this (shadows will be darker in blue jeans versus the shadows in a white cup)

Halftone- The intermediary tones or middle values, not the highlights or darkest shadows. Think Light Halftones and Dark Halftones.

Halation- An effect of placing an opposite value in the background (negative space) adjacent to that value area of the subject (positive space).

Sfumato- A Leonardo Da Vinci term used to describe a blending of values in transition. The word has connotations of "Smoky" in Italian. "Without lines or borders in the maner of smoke, or beyond the focus plane"- Da Vinci

Chiaroscuro- A term broadly understood to describe the strong contrast in illumination between light and dark in an artwork. In Italian it translates to "light-dark". It also has a reference to light IN dark.

Basic example of light falling across a form (light comes from the upper right). Consider the values from right to left: Highlight, Light Halftone, Dark Halftone, Shadow, Reflected Light, Shadow.

Seurat

R. Tweedy

Kathe Kollwitz

Lopez

Robert Longo

Student Example

COMPOSITION

2010-09-07T18:43:00.000-07:00

Composition is the arrangement of elements within the rectangle. At its most basic, the rectangle must be considered in a vertical format (a statement) or a horizontal format (a story.) We can begin by thinking of the square/ rectangle as having certain inherent energy zones- the center and four corners. Deciding how these are activated is the function of composition. It is created to move the viewer in and around the image, create interesting balance and harmony. When beginning to layout a compositional idea, it is important to consider the big shapes that make up the internal skeleton of the drawing (both positive and negative space.) Below we will see examples of how artists use composition.

The Raft Of Medusa- Gericault. The composition has strong diagonals, pointers, and geometric shapes (specifically multiple triangles.) On the right, the grouping of figures form a triangle shape mirrored by the rigging and sail of the left. On the apex of the right triangle we find the focus or destination of the composition (further emphasized with the figure having the high value contrast.) Beyond the architectural layout, notice the organization of lights and darks, how these move you through the composition.

The Assumption of the Blessed Virgin- Titian. This composition reinforces the concept of the painting, The Virgin Mary's ascension to Heaven. To assist the story, Titian used a specific red to sequence the viewers gaze. Follow the red on robes of the men at the bottom, as it appears again higher in the Virgin's robe, as it reappears in the robes of God above.

The Rape of the Daughter of Leucippus by Peter Paule Rubens. In this example we can see the strong vertical lines (parallels) in the arms and horses legs. We see diagonals running through the hands, body, horse's feet in both directions. Finally there is the arc of movement or swing lines, follow the arc as it traces from the figure's head (angel) at left as it comes around to the head of the lower women at right. All the heads of the figures rest along this arc.

Another classic example of Rubens using diagonals, pointers, and light dark orchestration. All the diagonal spears point to the focal area (lion's bite) it is almost a wheel hub with spooks. Notice how certain edges of form rest on compositional diagonals.
A classic example of a zig zag progression through the artwork in this case a print by Hiroshage.

A Degas pastel in which the clear use of diagonals to leads us around the drawing through one dancer to another.
Here we see Degas using repetition of shape. Each dancer makes a circle-ish (maybe a hexagon) shape with their arms, legs, skirts and even the negative space between two dancers.

Degas was heavily influenced by prints from the the far East, and in this example displays a unique use of balance. The composition is heavily loaded on the left side with and equally interesting weight of emptiness on the right. He further enhances the composition with diagonals and scale of shape (horse and rider.)
Jose Clemente Orozco's study for his Prometheus mural. Here we can see the skeleton of the drawing and more importantly how he organizes his composition. His goal is to make sure the eye visits all portions of the design and aligns certain elements to direct those movements. He sets this up first by laying out diagonals connecting different edges of his work surface. At its basic he draws a line between opposite corners and through the half way points of both vertical and horizontal edges (this is sometimes referred to as the British Flag layout). He goes much further and subdivides. Eventually he begins his drawing and uses these lines as guidelines as to where to place elements, rest limbs, etc. Below is the finished mural.

Here is an example of a Diego Rivera mural in which we can see symmetry worked into the composition. Each side reflects basic positioning and shapes of the other creating a parallel.
A silhouette by Kara Walker again showing the symmetrical approach.

Below is an example of Marcel Zama, a more contemporary approach to composition, presenting and almost rococo setting (an overwhelming amount of elements and detail.)

He seems to focus more on the three vertical elements (Flags and two trees) and allow a slight dance of diagonals in the flying birds. Notice that the composition does not extend beyond the edge. It is completely self contained, which is totally opposite to the earlier examples of the Old Masters which presented a 'window' onto a scene.

LINE

2010-08-30T03:34:00.001-07:00

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the Still- Life example of Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

The example of Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.