![]() Our first drawing exercise takes place on a 12" x 18" sheet of quality drawing paper. As you use you viewfinder to frame your composition, I'd like you to recall the arrangements by those famous artists, and try to create your own composition that contains interesting shapes in the negative spaces the way the masters so consistently did in their work. If you were truly really paying attention in the previous exercises, you likely noticed the similarities in the negative shapes of the compositions by Cezanne, Matisse, Degas, and Vermeer that were strategically chosen. ![]() After we're all in the proper position, we will use our viewfinders as a guide to lightly sketch the structure of your drawings. ![]() ![]() We will have a brief introduction to the proper way to sit in your chair and set up your drawing space when drawing from life. There are multiple techniques that can be used for our viewfinders, and multiple methods will be demonstrated in class. Our viewfinders will not be as elaborate, but it will serve the same purpose, and should help you visual your compositions with less struggle. In order to make this easier, we're going to create viewfinders to help us "frame" our compositions and visualize how large our objects need to be in space.Īs you can see in Albrect Durer's image above, the viewfinder and grid have been used for centuries. For this project, I want you to fill the space so that the objects extend beyond the picture plane on all 4 sides. We will be observing an arrangement of chairs, easels, lamps, and stools for this project.īefore we begin drawing from observation, we will need to discuss the overall use of the space. These objects were strategically chosen for their dynamic contours and open-spaced structure. I've made a still life arrangement of everyday objects you would find in the art room. The first part of this two-part project involves the observation and contour drawing illustration of the positive forms. If that didn't happen for you yet, don't be discouraged, just trust the process and know that practice will give you the vision that will improve your ability to see. The ideal outcome of the exercises would have each student more aware of how important the positive and negative space is in a two dimensional designed space. The final results should have produced more accurate compositions in terms of how the space was arranged in both positive and negative space. ![]() If you did the exercises as instructed, you should have noticed a shift in the final two drawings where we made thumbnail sketches of the negative spaces (R-mode thinking) first. Because all of the paintings we studied in our last exercise had a figurative element, your brains had to fight hard to see the reality of the positive forms without trying to fill in the gaps with what the L-mode was trying to identify, label, and symbolize as "features of a face". In our last exercise, we explored how our brains have a tendency to get locked into the L-mode. Drawing from life is far more challenging, as it requires us to translate things from actual three dimensional space to a two-dimensional surface. This time, however, we will be working from life rather than from an already two-dimensional reference. In our first official studio project of the year, you will be creating two drawings that build upon our last Postive / Negative spaces exercises. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |