One-point Perspective Interiors

I meant to post this earlier for you guys. If you're already finished with the homework assignment, then you can just scan these to see what others have done. If you're still working on it, then it may give you ideas. Click HERE for a gallery of one-point perspective interiors by past Drawing 1 classes.

What to bring to class on Monday, August 31

Here's what I'll be looking for on Monday:

1. All the same materials we used on Wednesday:

* Drawing board (get one ASAP if you haven't already)

* 2B, 6B drawing pencils

* 18"x24" WHITE (I repeat: WHITE) heavyweight bond paper

* Metal yardstick (without the cork or felt backing) or a T-square (Get one ASAP if you haven't already. You do not want my generosity and mild manner, nor that of your peers, to wear thin.

* Hard eraser

* Workable fixative

2. Your sketchbook. Bring it to class on Monday and EVERY DAY for that matter.

3. Your homework assignment completed and ready to hand in.

4. A willingness to check all frustrations and negative vibes at the door and get to work.

Homework Due Monday August 31

Interior: One-Point Perspective

Choose an interior space from which to draw. Make sure that you are comfortable in this space because you will be using it for the next two homework assignments as well.

Working from observation, but using the interior mostly as a guide, draw the interior in one-point perspective. Remember with each object you draw to begin with a flat, geometric shape with no foreshortening and THEN recede your orthogonals (please forgive my mispronunciation of that word in class) to the vanishing point. For this assignment, I don't need to see your orthogonals receding all the way to the vanishing point like we did in class. You can erase any lines that do not define the object you are drawing.

Here's a good online tutorial to practice drawing interiors in one-point perspective: http://www.olejarz.com/arted/perspective/start.html (Just ignore the suggestion to not use soft pencils. That's what we're using here, folks!)

LINE ONLY

Materials: Drawing pencils (2B, 4B, 6B), yardstick, bond paper (18"x24")

Blog: Search the Internet for artists' images demonstrating 1-, 2-, and 3-point perspective. Post good examples to your blog and label them.

If you don't know how to download an image, here are some steps: (I'm assuming everyone is a Mac user) Place the pointer on the image you want to download and right-click (or press "control" on the keyboard and click if the right-click doesn't work). Scroll down to "Save Image to Downloads" and click. The image is now in your "downloads" folder.

Click HERE for directions on how to upload images to your blog. When you click on the "browse" button to locate your images, remember that they are in the "downloads" folder.

E-mail me or submit a comment to this post if you have any difficulties.

Ingres, Hockney, and Smith

Here are a few examples from each of the three artists I asked you guys to look at. Don't depend purely on what I'm providing you here, though. Go out and find images from these guys on your own and study what they're doing with their use of line variation.

Jean-Auguste Dominique Ingres

What do you notice about the way Ingres uses line in these portraits to place emphasis in the areas where he wants us to look or to define the form of the figure as existing in three-dimensional space? Is he using a different quality of line on the faces than on clothing? Look at his handling of arms. Notice how with the simple use of a darker, heavier line on one side of the arm and a thin, crisp line on the other side gives the illusion of form and weight. Study these drawings yourself and see what else you discover.

David Hockney

In these drawings, and others like them, Hockney is using a single fine-point pen. One would think that it would be difficult to manage any line variation from such a precision tool, but he dose it. Hockney had a great amount of control and patience, therefore when he needed a darker or heavier line he would repeatedly trace and retrace the line until he was satisfied with it. He doesn't do it with every single line on the picture plane, or else the drawing would be visually flat. Scan the drawings for line variations and see if you can figure out what effect each different kind of line is achieving.

Zak Smith

Smith is an extreme case. It is stating the obvious to point out that all of these drawings make IMMENSE use of line variation. Your job is to study them and observe the ways that line variation creates a push-and-pull. Do certain marks or objects seem closer to you than others? How was that achieved?

Lots of Art Stuff Happening Friday Night, August 28!

Horn of Plenty: MCA Horn Island Alumni Reflect & Remember, 1985-2009

MCA's On The Street Gallery

338 S. Main

6PM-9PM

"They Stopped Singing Here" New Work by Kevin Mitchell

Lulalyn Gallery Downtown/Brinkley Plaza

6PM-9PM

80 Monroe Ave.

901.489.3963

lulalyn@aol.com

HEX (A Six-Woman Show)

Marshall Arts

6PM-9PM

639 Marshall Avenue
The Rozelle Artists Guild: Project Sketchbook

(We wanted to see what you would do with 12 pages.)

Terry Woodard's Gallery

511 S. Main

6PM-9PM

901.258.2185

rag@rozelleartistsguild.org

1-point perspective

Click here for a link to a gallery of 1-point perspective drawings done in past Drawing 1 classes.

A couple of things I forgot to mention in class...

In the frenzy of passing along so much information to you all at once, there were a couple of items that slipped my mind.

1. In the back of your syllabus there is a "student-teacher" contract that basically says that both you and I agree to abide by everything mentioned in the syllabus. I meant to have each of you sign it and tear off the bottom half to turn in to me during class, but I completely forgot. Please make sure to have it with you on Wednesday so I can take them up.

2. I mentioned in class that having a drawing board ready for class Wednesday is not immediately necessary, but I forgot to mention what the alternative will be. Since we'll be working heavily with the yardsticks for 1-point perspective, you will need a good flat surface. This means that. if you are unable to secure a drawing board by Wednesday, your options will be to work on the floor or by tacking your paper to the wall. Neither option is exactly comfortable, so keep that in mind.

Again, if you have any questions about anything, you have my info.

Welcome

Alright folks, this is where we begin. If you are reading this, then I trust you have followed the directions I gave you and have established your own class blog. Please DO NOT forget to e-mail me the url address of your blog. I will be placing links to everyone's blogs in the "Student Blogs" section to the right. This will allow everyone to more easily locate your information and provide a central hub from which all of the blogs can be accessed. It would be best if I had your url BEFORE WEDNESDAY so that I can actually see everyone's blogs before class Wednesday evening.

Your class blog is an important part of the workload in this class. I personally feel that technology is such an integral and all-encompassing aspect of our lives, careers, and even social interactions, that to deny its influence--even when studying an institution as old and traditional as drawing--is ridiculous. Therefore, this blog counts as a percentage of your grade in this class. A small percentage, to be sure, but enough to push a plus or minus behind a letter grade, or it could be that one deciding factor that pushes a grade from, for example, a C+ to a B. So, please don't neglect it.

With that said, here's a review of your homework assignment for the week:

Materials: One 18"x24" sheet of bond paper, 4B & 6B drawing pencils, metal yardstick, eraser.

Assignment
1. Divide paper into at least eight horizontal bands that fill the page. Fill each band with vertical lines that explore different line weights and methods of drawing. Don't try to draw objects or things. Consider weight, speed, and positive/negative relationships. Lines can touch but not cross. Consider the paintings of Barnett Newman (although you will not be using color and I expect to see more lines per band than many of his paintings have).

2. Create a pocket inside the back cover of your sketchbook (staple or tape a piece of cardboard). Place syllabus in that pocket.

3. Find at least one article explaining 1, 2, 3-point perspective (more than one article would be smart) and place in the sketchbook pocket.

4. Follow the directions on the "Drawing 1 Class Blog" assignment sheet. (If you're here reading this, I assume you've already completed this section.)