Breadth pieces

Here are two photos I will use (maybe) as breadth pieces this year

Diagrammatic drawing

Diagrammatic drawing of my sister Megan (who was angry at the time) 

Art studio sketch

Done with pencil and a little charcoal

Composite silhouette

Mouse and Snake. Done with Charcoal

Concentration

My Concentration: The monsters of Greek mythology and the exploration of light and shadow.

Central Idea: The main idea surrounding my concentration is to use various light values made possible through bleach painting to portray the mythical creatures of Greek mythology. I want to convey the intrigue these stories brought me growing up and use my pieces to better connect people with my culture. The idea is to depict these infamous creatures realistically but with my own style while also using unique and varying light and shadow effects to stir different emotions and interest in viewers. I want to bring the monsters of greek legend to life in a new and interesting way.

How will my work show the exploration of my idea: As I go through the diverse cast of interesting creatures the greek myths have to offer, I want to show increasing attention to detail and improvement in my skills. My hope is that with each piece, the improvements I make will allow my idea to be more throughly conveyed to the audience. Also, with the use of bleach painting, I hope to convey a sense of mystique with the natural darks that brings out these monsters in their infamous glory. I will also be implementing many different lighting styles to explore the effect in has on how we perceive a subject. Some monsters will be lit dimly to bring out their dark aura and add drama to the work. Others will be lit brightly to show all the intense details and bizarre features that make these creatures so interesting. Throughout the whole process, I will also implement some touches of my Greek heritage in the backgrounds and so forth. I hope that while viewers fall in love with the mysterious creatures of lore depicted in my work, they will also gain appreciation for Greek culture.

(Sketch of Medusa by Rainer Kalwitz) 

Invented Negative shapes

My Invented Negative shapes drawing of a pot and its bizarre shadow. (Sorry it is sideways)

Drawing of crumpled paper

Done with black pastel, pencil and eraser. (after a light coat of pastel was applied to the paper)

Positive-Negative space

I drew my iPhone and various objects on my desk while emphasizing the negative space.

Collecting Spacial References

2D space

2D/3D space

3D space

Conte artists

Louis le Brocquy "Dissembled"

Henri Toulouse-Lautrec 

"Lady clown"

 Jean-Francois Millet

"Haypile" 

Georges Seurat, 

"Au Concert Europeen"

Di Chirico's simplified perspective

"Melancholy of a beautiful day."

"L'enigma di una giornata"

"Market Stairs"

Automatic drawing

(Done with black pastel)

drawing without thought

more drawing without thought

beginning to form shapes

Darkening areas to highlight shapes

Furthering the dark areas and shapes

Adding detail and finishing with white pastel.

Blind Contour

Blind contour of a frog

Blind contour of a beetle

blind contour of a toy duck

Continuous line drawing

(Drew a toy in my sister's room)

Non continuous on the left and continuous on the right

Sketchbook project 2

Counter sketch of my sister punching. (Sorry for bad quality, didn't have my normal camera)

Hatching the Pot

1.       Why is it important to know how to use lines to shade?

It can express many variants of detail to implement in your works. It is also one of the most basic ways to shade and essential to learning other methods. 

        

2.       How does light fall differently on the outside of the pot than on the inside?

 The outside cathces the light and appears to shine and wrap around the pot. The inside only catches a small amount of light while the rest is hidden in shade. 

3.       How can you internalize the feeling of roundness as you make the stroke, and move beyond the more neutral feeling of simply reproducing the curve?

Use your whole arm and don't be afraid to have some sketchiness in the design. Practice getting the feeling of recreating the roundness of the stroke.

·         Giorgio Morandi

·         Conor Walton

·         Rachel Ruysch

·         Harmen Steenwyck

·         Paul Cezanne

·         Jan Davidsz de Heem

·         Willem Kalf

·         Jean-Simeon Chardin

·         Frans Snyders

·         Francisco de Zurbaran

·         Pablo Picasso

·         Caravaggio

·         Rembrandt

Pablo Picasso

His bizarre techniques and style show roundness in an abstract way with sloping lines and suggestive lighting techniques. 

Caravaggio

He uses soft colors and subtle differences in lighting and shadows to show the slope of rounded objects.

Rembrandt

He uses contrast in effective ways and the organic flow of his brush to create roundness beyond the curved line