Ellipses and glass

During this session we worked from a still life of jars and bottles.
An ellipse is created when we see a cylindrical object in perspective.  For example, the top of a jar seen from the top is a circle.  When we look at this from the side, it becomes an ellipse.

When we drawn an ellipse, we must follow a simple mathematical principle, that each half of the ellipse should mirror the other half.  

If the Ellipse is at an angle, as shown in the jar above, we need to find the correct angle of the centre lines first..












We also looked at how to record translucent/ transparent objects, in the case, glass.  Transparent objects are objects that can be seen through, with objects the other side of the object looking very much the same as if you were looking at them on their own.  Translucent objects will cause some kind of distortion to objects seen through them - such as frosted glass, or in this case coloured glass. 

As you can see in the painting to left by Impressionist Paul Cezanne, (Still life, peppermint bottle, 1893 - 1895) the glass objects use the colours and shapes (and distortions) of the objects and surfaces behind them to create the illusion of them being glass.

The detail of the glass objects themselves is minimal, where the light hits to create reflection and shadow.  Less is more when you are attempting to re-create glass like surfaces.

We used a neutral ground, and used chalk pastels to capture the qualities of glass, very successfully!!! 

Positive and Negative space

Positive and Negative space – still life in pencil on cartridge paper – exploring how to use negative space to ensure positive objects are drawn accurately in relation to each other, proportion, line, scale

This week, we have explored how we can use the negative space that surrounds an object to achieve more accurate observational drawings.

 An object (in this case a stool) takes up positive space in the world.  This can be seen in the central image to the left.  The space that is left around the stool is called  negative space, as seen in black in the far right stool.  We can use our understadning of this to ensure the drawings of our objects are accurate.  By ensuring the space around an object is accurate, we can be certain that the edges of the object we are observing is therefore also accurate.

 We worked from a still life of easels, lamps, and chairs to create a drawing by only recording the negative spaces.  This was to test this theory of creating accurate drawings of the objects without drawing the objects!

This is a difficult concept to grasp at first, but, once understood, will be a massive help to you when you are drawing any objects in future-  it will improve the accuracy of your observations if you are accurately recording the spaces around the objects then the objects themselves should also, by default be accurate.  Barbra Hepworth sculptures use negative space created by her sculptures become almost the focus of the work.  The empty space being the main element of the work.

Barbra Hepworth - Two Forms - Divided Circle

http://www.bbc.co.uk/news/entertainment-arts-16279968

Perspective

Perspective – Boxes – Pencil on A2 cartridge paper – exploring one and two point perspective, tone, proportion

This week we considered the effects of perspective on an arrangment of plinths.  

 

Single-point Perspective.  Single point perspective is created when the front of the object is directly facing you.  Other side that are going away from you will dissapear / meet at one vanishing point on the horizon line.






 

 Two-point Perspective.  Two point perspective is created when you are facing the corner of an object and multiple sides are going away from you.  The two side that are going away from you will dissapear / meet at two vanishing points on the horizon line.







 We also introduced the measuring technique.  We looked at how your pencil can be used to compare sizes of widths and lengths as well as record angles of shapes to ensure drawing maintian the correct proportions.  

We also consider shading and using tone to make surfaces stand out from each other, including darkening the background to make lighter surfaces stand out.
 Some great drawings produced this week!!


 

Natural forms

Natural forms (Pen and ink on sugar, manila, watercolour, and newsprint) – exploring shape, texture, scale, tone.

This week we were creating observational studies of natural forms.  We revisited last weeks introduction about looking at the shape of the object, rather than trying to draw what you think it looks like - leave dont often look how your mind percieves a leaf to look, due to theytype of tree, weathering etc.

We also used pen and ink.  This was an experimental session exploring marks we could make with a dip pen, and how the ink behaved on a range of different surfaces.  What happens if we work onto wet paper?  Or newsprint?

We also craeted a continuos line drawing using a fine line.  We used water afterward to create tone, taking advantage of the inks solubility.  This excercise will also help you with your sketching technique.  When you are sketching quickly, the less the you take your pen / pencil away form the page the better! 

 

Charcoal Study of Keys

Keys (enlarged to A1 in charcoal) exploring scale, tone, proportion

This week, was the introduction to the Visual Studies sessions.  I talked about a painting by Surrealist Rene Magritte entitled "The Treachery of Images", 1928 - 29, oil on canvas.

We discussed the idea of how we percieve objects.  Objects take on a meaning to us because of their title and function (as in a pipe).  By doing this, when attempting to record the properties of the objects we are studying, we become distracted by us wanting our studies to look like the object as we percieve it in our mind, rather than actually recording what we can see in front of us.  A child will draw what they think a leaf should look like from their mind regardless of what the leaf they have in front of them looks like?
As artists, we need to attempt to break away from this inherent behaviour.  Only then will we succeed in creating accurate, closely observed studies.

We put this to the test with our first objects (a set of keys).  The challenge was to record the objects, accurately considering their structure and surface texture, using charcoal.  We had some great results!  Well done everyone!!