composition, perspective and values | drawing F'20

Think Film Noir, and these shoes transform into the likes of Humphrey Bogart, Lauren Bacall, and James Cagney. Now with students working from home, some scenes look more sinister, and the lighting more dramatic than I could ever set up in class. Online learning shows its advantage.  

Mariana

 

Talia

in the process | drawing S'18

Shoes take on the persona of actors on a stage. Dialogue and lighting heightens the drama, while students learn the importance of focus, perspective, negative space, and even the proximity of the audience to their production. 

Galen

Tonni

Bianca

focus | drawing sp'17

A nagging question poses itself, at the start of class: "What should I draw?" Instead of an easy answer, I address methods to begin, guiding them through lines of perspective; how to render light and shadow; and the basics of composition. When it comes time to choose the objects to include, or what part of the room to draw, it is up to them to decide. 

Usually, it is the first thing they see. Whether I set up a still-life, or we draw at a bustling train terminal, there is something that grabs their eye. This focal point not only draws us into the work, but it also has a calming influence. Learning to wield a pencil is hard enough. When there are too many objects to draw, or too many details to capture, eyes dart around, and sensory overload turns to panic. So instead of telling them what to draw, I simply ask, "What attracts your attention?"

Jaclyn

Kana

the first week | SIS I Painting '15

The class begins with drawing. After a lesson on perspective, composition, and values, notice the difference in Jimin's drawing, from the morning to the afternoon session. Her composition fills the page, and by toning the paper she is better able to understand values.  

Jimin

Oil painting starts with a similar process. A wash of color tones the canvas, and a rag, dipped in Gamsol, brings out the light, while paint straight from the tube is the darkest value.

Marisa

Learning to mix colors, keeping them clean, not overworking the brush, and slathering on the paint - like butter - is a challenge for everyone. 

Melanie

composition | drawing f'13

With the start of a new year and a new semester, I review the syllabus and change things up a bit. One class remains the same: Composition. Here students combine lessons on values with their own cinematic viewpoint.

Holly

 

Sari

Catherine

Victoria

composition | drawing f'13

Our navigation of a perceptual world of three dimensions can be both stimulating and confusing. Add a time constraint (one hour), and a clear focus is needed. In the following, our eye moves, and yet the furry bear - in all its textural glory - remains the central character. 

Taeok

Sari

still-life | drawing f'13

A story is gleaned from each student's own perspective. Characters take stage - they mingle, distance themselves, lay vulnerable or play victim - all fully alive before being tucked under beds, or relegated to prop closets. 

Ishita

Anna

Adrienne

Neha

the fourth week | SIS I '12

Some students had little or no drawing background. For others this class was one of many. Yet, when oil painting was introduced, everyone learned to fail. Out of the frustration - palpable by the second week - emerged a willingness to take risks with paint. And in the final weeks their individual viewpoints flourished. 

the first week | SIS I '12

After four days of drawing, it was time to start the painting process. (Let me rephrase that. There were only three days of drawing!) Here are just a few of the paintings that followed:

Daniela

Yue

Estefania P.

Alex

Here Garrett and Isobel are finishing up.

Drawing f '11 | Composition

Shoes tell a story. Much like the people who wear them, they show a sturdiness of character, combined with years of wear. In a class on composition, shoes are employed as actors. Now, imagine that a drawing is a single frame in a movie. Keep it simple. We are not filming the entire movie, on one sheet of paper. Who is the focus ? Would it be a spiked-heel Angelina Jolie or patent leather Brad Pitt? How about camera angles? Up close or panning back? And who is the lighting director? In class, it is me, whereas at home, the student has total directorial freedom. 

Mary Claire set up a Mexican standoff. I can just hear the dialogue!

Just to get a good camera angle, Camila sat on the floor. With perspective, the sandal feels more distant because of the size difference. There exists a relationship (or maybe, a recent breakup.) More contrast in values is needed.

Hannah played with camera angles in both class and at home. In her second composition, the whole page was considered.  Cropping added to the drama. Was this a friendship gone sour? A lover's spat? The fainting diva could have been a tad smaller (to show some distance.)

Cortny tried two variations, and also included cropping. Though the second drawing was more fully realized, the top sandal looks to be a size 11. Foreshortening is called for here.

Melissa created a soft, caring relationship between these shoes. So where are they? There is quite a bit of white space surrounding these lovebirds. A light-handed environment would add to the storyline, and a darker value would show some contrast between them. As in life, how realistic would it be for these couples to be so harmoniously--gray? 

 Tippi maps out some dramatic cast shadows, found in a film noir. While the diagonal works, the moccasin needs to be on equal footing 

Erin creates a strong diagonal with a challenging angle--the underside of the boot is beautifully rendered. Again, there needs to be more variation in values. 

The pattern, on Rhonda's rain boot, plays a secondary role to the block-like structure of the boot. This is the same when an actress wears a printed dress. Do you want to notice the dress or her? Show the curves. Keep the pattern to a minimum.

drawing f "11 | still life

On the third day of class, Brandon drew his first still life, using charcoal. The lesson was about values, and simple perspective. Note the starched quality of the subject matter and our distance from it.

On the last day of class, he once again did a still life. This time Brandon's composition showed a skillful use of perspective. The angle, and the negative space, allowed us to venture in, to witness a dialogue between the fruit, the shirt, and the creamer. Brandon's loose hand, and the relaxed nature of the shirt were now more inviting.

Nina had an uphill battle with the toilet paper. The roll on the left lacked in foreshortening. 

On the last day of class, Nina focused in on the bear and the pinecone (or rather fixated on her center of interest.) Though beautifully done, the drawing weighed heavily on the left. Also, where was the bear sitting? There was no environment included. Once Nina worked the rest of the shirt, we took a journey back in space. Note a nice use of the diagonal!