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

going home | drawing Sp'20

By mid-March, in-person classes were cut short, and students finished out the semester, at home. As we transitioned to online classes, it was a unique experience to see students, in their own environments. A toddler's captivating smile garnered my attention, while home-schooled kids were ever present. Each week, I was welcomed into both cluttered and sparse bedrooms, a studio space carved from an outdoor shed, and the warm Colorado sun blanketing a backyard table. It was inevitable that drawing lessons would change with the surroundings. There was a new intimacy to the Zoom sessions, and I could clearly see that home was each student's sanctuary.

Daniela's Final Project: 

Perspective drawings, of her home in Mexico, done in ink and watercolor.

perspective sketching at First Presbyterian Church | drawing f'19

When the sanctuary was empty, students added values to maintain a focus in their perspective drawings. Later in the week, the focus changed. The same sanctuary lent an impressive backdrop, to a packed house, for a talk by the former acting director of the FBI, Andrew McCabe. After a followup interview, by investigative reporter, Carl Bernstein, I left with a sense of optimism, befitting this reverential space. 

Renee

Ethan

Wendy

a lesson on perspective | SIS II '19

The basic rule in any perspective drawing: whatever is close to you appears larger. In figure drawing, it may be an arm, a hand, a leg, or a foot, but with an all too common hierarchy, the face moves front and center. A lesson on perspective, can grow a limb, and add depth to a drawing. 

Angelina's attention to perspective is evident in her stunning classwork:

Angelina's ten minute and one minute drawing, 

from the first class - before any lessons or demos. 

perspective | drawing S'19

There are always formidable distractions outside the classroom. A medley of 750,000 commuters, whizzing through New York's Grand Central Terminal, offers up just such a challenge, especially when drawing perspective. While its rules are best described as dry, and its stringent lines less than obvious, its endgame can be exciting to witness. 

Sara

Clare

Mira

perspective | life drawing S'19

A contour line alone will not add volume. For a clearer understanding of the body's three-dimensional form, hold up your box of charcoal, tilting it at the same angle as the upper and then the lower part of the torso. Notice how shadows, in this drawing, emphasize the flat surface of each. 

Ira

In this exercise, students construct the figure, by drawing blocks, and begin with the nearest body part. The tendency of drawing heads that are monumental in size, will give way to beefier legs and feet, by following a basic rule of linear perspective - what is closer appears larger.  

Xuan

David

Grand Central Terminal | drawing f'18

Each student begins in much the same way, by drawing lines of perspective. Most often they use a ruler. The similarity ends there, as differing personalities are at work, when interpreting this stunning landmark.

Jess

Michael

Rich

Each student begins a drawing using lines of perspective. With their own interpretation of this great landmark, that is where the similarity ends.

Jess

Michael

Rich

architecture around NY | drawing S'18

Tonni at Jefferson Market Library

Mary Jane at First Presbyterian Church

Carly at Grand Central Terminal

anatomy | life drawing S'18

A lesson on anatomy is also one on perspective. What is closest to the viewer appears larger. While body parts may get exaggerated, it sure beats having tiny hands. ;-)

Shannon

Matt

Grand Central Terminal | drawing f'17

The scale is overwhelming: A football field of perpetual activity, with ornately crafted details, 75 foot windows, and a star-studded ceiling. The challenge is to stay focused. Find what attracts you. Begin with lines of perspective, and add details only where needed. 

Karina

Hiroko and Natalie

Thomas

perspective | SIS II '17

He sprawls his elongated body across the chair, and in that instant, I know the lesson. Perspective is best explained, with the corner of a building jutting forward (in two-point perspective), or broad railroad tracks disappearing in the distance (in one-point perspective). Yet, when drawing the figure, there are no parallel lines or visible vanishing points. However, there is one crucial rule to follow: What is nearest to the viewer appears larger in size than what is further away.

 

Josselyn

Charlene

Julia

Hae In

Grand Central Terminal | drawing f'16

Sketching in this resplendent NYC landmark - glorious in scale, faithful to its classical roots, and abuzz with a daily rush of 750,000 visitors and commuters - is in one word: intimidating. 

With the natural tendency to zero in on the simplest thing - such as windows on the opposite wall - a lesson on perspective circumvents any interpretation of the world as flat. The concourse alone is 275 ft. long, 120 ft. wide, and 125 ft. high. 

Most importantly, one's own eye level (commonly referred to as the horizon line) is drawn first. Too often omitted, this line serves as a reminder that orthogonal lines need to meet at a vanishing point - on that line - in both one and two-point perspective. (From a previous blog post.)

Notwithstanding, my persistency is rewarded. Once these guide lines are faithfully rendered, all eyes zoom in. What endears each student to this grandiose spectacle? With highlights of color or contrast, the answer is clear. Their excitement is palpable. Sketching in Grand Central Terminal - and drawing perspective - is no longer intimidating. 

Casilda

Casilda

Kayla S.

Sameera

Sara

Kellie

Kayla D.

perspective | drawing S'16

Kaitlyn

Petr

Rafe