| Bonus
'how-to-do-it' weighted
line
|
Establish
a standard for line weight in your drawing and make it consistent
through-out the work. Shadow is represented by heavy line, highlight
is represented by a light line and breaks in the line are used for
sharp corners or the brightest highlight. Get used to 'line speed'.
The actual and apparent speed of your hand moving can make a line
that tells what the object looks like: Not just light, but also fast.
Not just dark, but slow. |
Line
Drawing
"Jennifer" by JRJ
|
Beginning student
drawings tend to be "light, tenuous, and small". A simple
solution is the rule of thirds: one third white, one third gray,
one third black. Drawings done this way will demonstrate the merit
of "dark, assertive and large". You can see what the graphic
stayements are, from across the room.
I try to make
the painting or drawing 'read' at three distinct distances: From
across the room the large graphic impact is a simple design or composition.
At a middle range, it begins to take form and there is a change
of recognition. Then up close - another recognition stage occurs
as the viewer sees what I was saying in the entire work, including
details. It almost tells a story. If you can do this in your work,
it will catch the interest of the viewer and keep it all the way
to a close viewing. That viewer won't lose interest at least until
after they have seen the details of the work.
|
| Spatial
Drawing
"Figure#4" by JRJ
|
This
time, I used the term "activating the space". A term that
means simply putting something in the negative space around the
figuress we draw, to make the negative as interesting as the positive
or object space. We tend to concentrate on line speed and weight
as it relates to the subject, and ignore the surroundings and background,
but they are legitimate targets of interest for our drawing. Learn
to use what you have in front of you, to see and see again.
Now is a good
time to begin the process of seeing well. For a beginning drawing
student that means: look at the set up, look again for the details
you didn't see to begin with, look a third time to see how this
image or collection of objects relates to you. This third part will
be the hardest to understand and make work. It is enough for now
that you think about these three levels and start trying to applying
them to your "process of seeing".
|
| In
Class assignments |
Draw
10 small boxes in charcoal to show the steps between white and black.
Chiaroscuro is
the Italian word for putting this gray scale ability into practice.
Make sure to draw te model stand to place the figure in space use
the shades of gray you see.
|
| Homework
Assignment |
Assignment
in addition to weekly sketchbook drawings:
Do a single
"Drawing of hands". We will display these
next week. |
| Footnotes:
|
Links at the
bottom of the page include email and web address for class notes
if you miss a class and need to get the notes.
|
| Bibliography |
Book source:
optional textbook "Experimental Drawing" by Kaupelis
|
|
Links
|
combined
figure and skeleton, LAURA
FERGUSON: THE VISIBLE SKELETON SERIES |
| |
Materials
Sources: Utrecht Art Materials, Dakota Art, Dan Smith
Inc., UW Bookstore
Book Sources:
Library, Amazon.com, Barnes & Noble.com, UW Bookstore,
Used book stores in Tacoma or Seattle. |
 |
Links:
for class notes www.jonraderjarvis.com/classes.htm
and email contact address jrj@jonraderjarvis.com
© 2004 Jon Rader Jarvis, all rights reserved |
