ART III
Projects
Projects
It's all about me, Showcase!!! |
Sketchbook!!! |
High Contrast Graphite Drawing
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White CharcoalWhite Charcoal basics are done before starting this project.
Students on an AP track are encouraged to use their own photographs and composition. Students need to work in reverse of what they normally do. They will be "highlighting" instead of "shading". This requires reprogramming our way of thinking. VALUE: The two extreme tones or values are black (very dark) and white (very light). Recognizing the tone or value of a color, rather than the hue, is important to a painter because successful paintings have tonal contrast in them, or a range of values. A painting with only mid-tones risks being flat and dull. Value or tonal contrast creates visual interest or excitement in a painting. A high-key painting is one in which the contrasts in value or tone are extreme, from black right through the range of mid-tones down to white. A low-key painting is one in which the tonal range is narrower. |
ScratchboardScratch board basics are done before starting this project.
Students on an AP track are encouraged to use their own photographs and composition. Students need to work in reverse of what they normally do. They will be "highlighting" instead of "shading". This requires reprogramming our way of thinking. White charcoal is more forgiving and will be done first. VALUE: The two extreme tones or values are black (very dark) and white (very light). Recognizing the tone or value of a color, rather than the hue, is important to a painter because successful paintings have tonal contrast in them, or a range of values. A painting with only mid-tones risks being flat and dull. Value or tonal contrast creates visual interest or excitement in a painting. A high-key painting is one in which the contrasts in value or tone are extreme, from black right through the range of mid-tones down to white. A low-key painting is one in which the tonal range is narrower. |
Gesture Drawing:
The key to gesture drawing is action not consistent line. In gesture drawing, you start with the whole form and work to define the parts. Gesture drawings are sketched or scribbled with speed and bravado and you must approach the process with abandonment. You are not drawing details; you are capturing the model's balance, weight distribution and action. Your line should be thin and thick to very broad strokes. The idea of a gesture drawing is to capture the models essential gesture, movement, volume, weight, and energy in the drawing. The drawing should be bold and quickly drawn. To achieve this you must draw from the shoulder and use your whole body. This physical and energetic approach to drawing creates beautiful expressive drawings with elegant lines and gestures. Contour Drawing: You will discover that this type of drawing is the complete opposite of gesture drawing. A continuous line drawing is produced without ever lifting the drawing instrument from the page. This means that, in addition to outlines and internal shapes, the pencil must move back and forth across the surface of the paper, with lines doubling back on each other, so that the drawing is one free-flowing, unbroken line. To avoid the temptation to erase lines, it can be helpful to complete a continuous line drawing with an ink pen, varying the line weight, as needed, to indicate perspective and areas of light and shadow. Like the drawing methods described above, this drawing method develops confidence and drawing speed, and encourages your eyes and hand and brain to work together. Continuous line drawings work best with in-depth observation of your subject, without interference from your thinking mind. |
Blind Contour:
Feeling your way around the form Draw the subject without looking at the drawing paper - you must resist the temptation to "peek" at your paper, if you look once, you will not be able to continue without looking again and again. This type of drawing takes a great deal of concentration and focus. A good way to describe the blind contour drawing process is that you are learning to see through your sense of touch. If you imagine that the point of your pencil is on the edge of the subject you are drawing, the same position where your eyes are on the subject, then moving your eyes very slowly along the contours of the subject and allow your pencil on the paper to feel all of the details that your eyes see. Use a continuous line - do not take your pencil off the paper. Proceed carefully. Concentrate, focus, and draw the object as if you are tracing or feeling your way around the contours of the form. Keep the line "fluid" but do not scribble. Move your pencil in a slow and steady pace much like tracing. |
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