Level 1 Semester 2 week 3 and 4 February 23, 2009

Mondays (Cast drawing, Figure drawing)

Drawing ellipses. In perspective and in the picture plane, an ellipse will always touch the mid-point of each side of the rectangle within which it is inscribed.

Instructor demo (John DeMartin):

My work:

Cube review and ellipse practice.

Figure drawing instructor demo (John DeMartin):

Tuesdays (Still life)

Day 1 of a 3 day set up

 

Wednesdays, Thursdays (Figure drawing)

2 hour pose, photos represent 20 minute increments

2 hour pose

Week 3 in Kerry Dunn’s figure class we started with 20 minute value studies, relating the big regions of value, less concerned with drawing accuracy so we could learn how to organize procedurally massing in the value relationships. We started with 2 shadow values and 3 or 4 light values. We then progressed to longer poses.

Instructor demo (Kerry Dunn):

My work:

20 minute value studies

1 hour 40 minute pose, photos represent 20 minute intervals

1 hour value study (with preliminary thumbnail sketch)

Fridays (Open grisaille)

1 minute gestures, 5-20 minute block-in/wipe-outs

Level 1 Semester 2 week 1 and 2 February 4, 2009

Mondays (Cast drawing, Figure drawing)

Jon DeMartin. Draw geometric solids, beginning with the cube.  First establish the height to width. Then draw perceived angles of the outside edges of the cube. Use the corners of the box as points to compare. Use plumbing and leveling to aid in accuracy of point relationships.

First react to the figure in a curved gesture. This is the line of action.Then draw the axials of the major masses of the body (head, rib cage, pelvis), the lines of contrast, the lines of compression and relaxation. Establish and relate structural points.

“Don’t draw what the model IS, draw what the model is DOING.” (Line of action)

“The points are in the joints.” (structual points)

“Perceptual always precedes structural.”

 

Tuesdays (Still life)

2 Day studies (I was out sick, so the below is only a 1 day study)

Wednesdays, Thursdays (Figure drawing)

“Draw what you see, but then let your drawing be informed by what you know.”

When separating values, first establish the parameters of the value range (highlight, darkest dark). Then establish six major value differences in the larger shape/area relationships before breaking up smaller relationships within the figure. Begin relating the environment to the figure at this stage.

 Another system of relationships to begin incorporating in the middle stages of drawing is edges, from sharpest (usually along the contour or cast shadow) to softest transitions (form shadows, light changes on cloth, etc.).

Instructor demo (Kerry Dunn):

5 hour demo, photos represent 40 minute increments

Fridays (Open grisaille)

We started with 1 minute gestures, then 5 and 10 minute block-ins.

We were reminded to stand back, squint, capture the overall gesture, draw through the figure to the larger encompassing angles.

Paint for the grisaille is a mixture of burnt sienna with a touch of ultramarine blue and titanium white for opacity. Paint should be thinned with odorless mineral spirits – thin enough so it doesn’t drag across the canvas, but thick enough that it is not drippy. The amount of ultramarine blue depends on the darkness of the tone on the canvas – the grisaille should be distinct. Wipe outs are done for now with Viva paper towels or t-shirt material. Eventually we will be using a brush dipped in turpentine for the wipe-outs.