When Viewing Examples of Student Work:

Often a single example of work may not demonstrate all the required objectives for a particular assignment. Instead students should collectively consider: the required objectives for each assignment, the multiple examples presented on this blog and during in class presentations. As well ideas discovered through a student's independent research in combination with various examples and ideas presented by instructor will ultimately be the best approach for synthesizing ideas and reaching the requirements (and unique outcome) for any particular course project.

Thursday, May 13, 2010

Rendered Drawing Objectives:

Light and Shadow Rendering /B & W Shading and Tones:

Process: Tonal drawing involves layering process that starts tentatively (drawn lightly and rough with soft edges) With this type of drawing in early stages initially map out subject matter into basic shapes of light and shadow (planes & other basic geometric shapes) As in the previous assignments no detail in beginning stages of drawing and start in the center work directly out and around from initial shape. Use initial shape as building block and reference for comparing proportion and choosing composition. Tentatively (and lightly) map out entire composition before committing to: detail, exact locations of shapes, levels of high contrast, thick layering of drawing mediums, and sharp edges. As in previous assignments anticipate editing with a combination of additive and subtractive processes in the drawing. As in previous work anticipate at times a messy process of restating and editing to occur during the layering process. Remember for a rendered drawing the ultimate goal is to absorb all lines into shaded areas.

Range of Tones, Edges and Mark Making: Anticipate strategically using a full range of grayscales (dark to light tones) and range of edges (hard/sharp to soft/out of focus edges) during the entire drawing process. During the early stages of the drawing use only soft (tentative/out of focus) edges and light to middle grayscale tones to tentatively map out entire drawing. As well utilize a full range of mark making from smudged to raw marks, short to long marks, curved to angular marks, and various pressures of gentle touch to pressing heavily on the drawing surface. When investigating mark making, tones and edges keep in mind that your eraser can be a drawing tool as much as any other drawing medium.

Accurate Proportion, Scale and Perspective: utilizing measurements, horizontal/vertical alignments and 1pt & 2pt perspective. When working from observation generally use the theories of perspective (vanishing points & horizon line) at later stages of drawing as a tool for checking accuracy of proportions, scale, etc. As in the previous assignments whether working from observation or imagination do not lock into horizon line and vanishing points until proportions are resolved.

Composition: As in previous work locate an interesting view with a reasonable level of difficulty that will have a unique and complex interaction of shapes through out picture (including border of drawing) and choose a composition that is conducive for presenting the objectives for the assignment.

Strategic Levels of Contrast: increasing or decreasing contrast in strategically chosen areas will assist in depicting the illusion of 3 dimensional forms and the illusion of space. Often a subtle progression of decreased contrast (along with hard to soft edges) will need consideration in the final stages of the layering process.

Mass Volumes & Space: Clear depiction in the illusion of 3 dimensional masses in space that progresses in a clear manner from foreground to background. Over lapping of forms and strategic use of detail, contrast, range of edges, grayscales, angles and composition will all be crucial in achieving a strong illusion of 3 dimensional mass and depth of space.

Strategic use of Detail: Anticipate that progressively there will be less detail as the viewer moves back into the space of the picture plane. Various levels of detail will also be required on some single objects or planes located in the 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. In some ways this has connections to the ranges of marking in the drawing and layering process.

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