Sunday, January 31, 2016

Light / Dark - Value


• SHADOW BREAKDOWN
keeping a chart on light to dark helps with
extending the value in your drawing
IN class I pondered on about how important it
is to start light - which is correct. but 
you still need value!! A chart uber helps







FURTHER: ON SHADOWS:
ESP. ON FABRIC:
Concept:  As contour dip into or towards the major mass of a form (depression) they theoretically move away from light and into shadow (meaning darker or heavier line) and the opposite occurs when contours swell – moves from the dark to the light! When using line to define and describe edges – good to remember that all edges are not equal when describing weight and tension.
What would you use to signify weight in drawing?  Tension?
Chiaroscuro –
Originating in the Renaissance, chiaroscuro is a representational use of value that uses an even gradual transition from light to dark to produce 3 dimensional effect.


 LOW KEY VALUES!!


      •Predominately dark  values often used to create and effect of gloom, mystery, drama, menace or heaviness



HIGH KEY VALUES:

Predominately light values often used to create an effect opposite of low key value such as light-heartedness, delicateness, or whimsy






GLASS:
Working with metal and glass.  Think about the edges – and reflections.
Find where the reflections are and use the Hard pencils for lightest area in glass – or use blenders to apply media directly.





SILVERWARE:Start with basic shape outline of your object.  Outline the values you see – remember to keep the edges soft or if you have distinct edges – should not see a “line”





These are different remedies for making marks:




Wednesday, January 27, 2016

Good Job N Pay....Hmmm Caricatures.....


                                                                            Looking to Hire Art Students for Caricatures

We are looking to hire art students for the Senior All Night Party at Marysville High School on April 16, 2016.  The party takes place after the senior prom to keep the students in a safe and fun environment.  We are in need of 3 art students to draw caricatures of the students  from 12:30 am -3:00am.  We are expecting approximately 160 students to attend, although not all will want a caricature. We are working on a limited budget but would be able to pay $70.00 per student. The 2015 class parents hired one artist last year but most students were not able to get a drawing due to time constraints which is why we are looking to get multiple artists.  The students last year loved having this memento to remember their party.  Please contact me by email at gkjansen@sbcglobal.net or by phone at 810-479-2079.

Thank you, 

Kim Jansen

Sunday, January 24, 2016

Sighting 101



       •Drawing from observation has challenges in accuracy than with other types of drawings.  Drawing a three-dimensional form on a 2-dimensional surface  of translation sometimes poses a problem.




        •The process of sighting can assist with making this translation be successful. A sighting stick is the basic tool for the process of sighting. 


       •*Always keep your arm full extended and elbow locked when sighting.  This establishes a constant                                      scale, which is very important for sighting proportional relationships.


You can tip stick left or right not front or backwards. *this can be tempting for establishing foreshortening.

Trick: imagine the stick is within a 2D pane of glass – tip it front or back it will break.
Use Monocular vision when sighting rather than binocular vision









In still life when you have many objects in an arrangement to be drawn you must begin by establishing which object is your POINT OF REFERENCE.  This is ideally an object that you can see in its entirety and that can be broken down in at least two relationships (height and width) A landmark is identifiable point on any form that you can refer back to.  - an easily identifiable reference point.

There are 3 essential uses for sighting that aid in observing and recording information accurately. 



1. Relative Proportions
Make relative measurement by measuring holding the stick with your thumb.
Achieve relative Landmarks

Establish relative measurement of the distance between any two parts or points on the form.
With this you can establish greater accuracy in your drawings.
To achieve relative proportions, begin with establishing the relationships between the total width of the object (distance from the farthest left to the farthest right

By rotating the stick you can observe how many times the width of the form repeats itself in the height of the form.
You can then maintain the same relationship in drawing the form, no matter how large or small you may choose to represent it.
Sight what you perceive as the smallest measurement first, and then compare it to the larger measurement.



      •Always work from general to specific always recording the larger, simplier relationships before the detail.
      •Sight from One Landmark to the next.  Remember the landmark indicates any point on a form that you find and can refer back to over and over again.  Landmarks usually occur at places when different parts of a form meet or come together (This is called Point of Articulation). Or when there is a sudden directional change along the edges or surface of a form.



The Clock Approach:
   When you have observed an angle, run your stick along the angle you are observing,  imagine your stick running through the face of a clock to a specific time.

 Sighting Vertical/Horizontal Alignment
  Look for 3 or 4 landmarks horizontal or vertically to create plumb lines.

    This will allow for assistance in determining relative size and placement of objects in a complex arrangement of forms 











whaaaaa




Robert Henri

Robert Henri - The Art Spirit

Inspirational Appetizer: Robert Henri

Inspirational Appetizer: Robert Henri - The Art Spirit

A wonderful artist who also was gifted in writing!  Robert Henri wrote a couple of books but my favorite is The Art Spirit.  It was published in 1923.  There is no photo or picture/painting in it but such beautiful writing.  Robert Henri was born in Cincinnati in the early 1880's, attended the Pennsylvania Academy of the Fine Arts, travelled to Paris to study, and came back to America to teach at the Philadelphia School of Design for Women.  He further taught at the New York School of art, and NY Students League.  He became an important artist and teacher - taught "heavies" of art as Edward Hopper, Joseph Stella, George Bellows, Stuart Davies.  The Art Spirt contains his ideas of art.

Some lovely extractions from The Art Spirt to share to you - it is truth - and this truth is beautiful like poetry...enjoy!

  


“Art when really understood is the province of every human being.
It is simply a question of doing things, anything, well.  It is not an outside, extra thing.

When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature.  He becomes interesting to other people.  He disturbs, upsets, enlightens, and he opens ways for better understanding.  Where those who are not artist are tying to close the book, he opens it, shows there are still more pages possible.

The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others.  He does not have to be a painter or a sculptor to be an artist.  He can work in any medium. He simply has to find the gain in the work itself not outside it.

Museums of art will not make a county an art county.  But where there is the art spirit there will be precious works to fill museums.  Better still, there will be the happiness that is in the making.

The work of the art student is no light matter.  Few have the courage and stamina to see it through.  You have to make up your mind to be alone in many ways.  We like sympathy and we like to be in company.  It is easier then going it alone.  But alone one gets acquainted with himself, grows up and on, not stopping with the crowd.  It costs to do this.  If you succeed somewhat you maybe have to pay for it as well as enjoy it all your life.

Cherish your own emotions and never undervalue them.
We are not here to do what has already been done.

I have little interest in teaching you what I know.  I wish to stimulate you to tell me what you know.  In my office towards you I am simply trying to improve my own environment.

Know what the old masters did.  Know how they composed their pictures, but do not fall into the conventions they established.  These conventions were right for them, and they are wonderful.  They made their language.  You make yours.  They can help you.  All the past can help you.”


“Understand that in no work will you find the final word, nor will you find a receipt that will just fit you. The fun of living is that we have to make ourselves, after all.”
“Many a canvas carries on its face the artist’s thought of the cost of paint. And many a picture has fallen short of its original intention by the obtrusion of this idea.”
“It is harder to see than it is to express. The whole value of art rests in the artist’s ability to see well into what is before him.”
“The pictures which do not represent an intense interest cannot expect to create an intense interest.”
“A public which likes to hear something worth while when you talk would like to understand something worth while when it sees pictures.”
“You can learn more from yourself than you can from anyone else.”
“The greatness of art depends absolutely on the greatness of the artist’s individuality and on the same source depends the power to acquire a technique sufficient for expression.”
“There is nothing more entertaining than to have a frank talk with yourself. Few do it-frankly. Educating yourself is getting acquainted with yourself.”
“It is easier, I think, to paint a good picture than it is to paint a bad one. The difficulty is to have the will for it. A good picture is a fruit of all your great living.”
“Don’t take me an authority. I am simply expressing a very personal point of view. Nothing final about it. You have to settle all these matters for yourself.’
“The eye should not be led where there is nothing to see.”
“Out of it all, what is good will survive and will be known later; what is bad or negligible will pass and we shall have lived.”
“The pursuit of happiness is a great activity. One must be open and alive. It is the greatest feat man has to accomplish, and spirits must flow. There must be courage. There are no easy ruts to get into which lead to happiness. A man must become interesting to himself and must become actually expressive before he can be happy.”
    

Artist Spotlight: Adonna Khare










Monday, January 18, 2016

Drawing Basics: Pencil 101/ SHAPES/Ellipse

Pencil 101


B, 2B, 3B, 4B, 5B, 6B, 7B, 8B, Ebony
These are all SOFT pencils.

The most versatile of pencils, capable of very light to very dark marks, designed for general sketching and drawing.
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No. 1, No. 2, No. 2.5, No. 3, No. 4, H, HB, F
These are General Pencils.
Very versatile, not in making a dark mark as a soft pencil but good for general sketching and drawing.
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H, 2H, 3H, 4H, 5H, 6H, 7H, 8H, 9H
Has a restricted range but can be very useful, makes a light, hard line, designed for drafting

_______________________________







Charcoal 101

Best use:
•For rough sketching and gesture.
•Available in soft or hard stick form or soft or hard in pencil form.







SHAPES

•What we see around us can be simplified on paper in to a series of basic shapes.  
•Most obvious shapes are cubes and spheres and it is helpful to see objects in these terms when you begin to draw.




•A square comes in handy when approaching objects of various sizes.
•Consider building a box for it to fit and work inwards.





Ellipse

•Thus, it follows the same rules as when you draw a circle: it contains arcs,  it has 4 segments which are equal.

Using the idea of the ellipse and a cylinder is a great way to look at shapes and drawing objects.
Tips:

•Consider the outside and work inwards
•Think of a box and elliptical
•Keep ends even




LINE

In class we spoke of line.  Line is important in mark making or drawing.  Horizontal line suggest a feeling of rest or repose with vertical lines suggesting height.  Contour act to separate shapes, values, textures and colors.
contour-line-drawing-hand-2



A Contour is the line which define an edge or form - an outline.  A Line Contour describes the outermost edge of a form as well as a change of plane within the form.  A contour is the line which defines a form or edge – an outline. Contour drawing is the place where most start following the visible edges of a shape. The contour describes the outermost edges of a form, as well as dramatic changes of plane within the form.

Contour= french for line.  







Pure/linear Contour = outline of the drawing - the edge only like the silhouette of an object  - no information is given on the inside


The line used describes the edge of the object being drawn.

like an outline!













Blind Contour = drawing an object using observation without looking at your paper while drawing the  B05Blind contour is similar to a regular contour drawing except the artist keeps their eyes on the subject they are drawing and does not look down at the paper.  The artist also will keep the tip of their pencil in contact with the paper so they don’t “get lost.”









Cross-Countour = follows the landscape of the form








Cross/Wrapped contour lines are drawn lines which travel, as the name suggests, across the form. Cross/Wrapped contours may be horizontal or vertical, as on the right side of the example, or both. Often, in more complex forms, cross/wrapped-contours will be drawn at varying angles.
KONICA MINOLTA DIGITAL CAMERA





Modified Contour = similar to blind contour but you look at paper slightly



Rapid Contour = drawing references gesture drawings for quick reference of what you are seeing.