A very useful perception to add to your mental toolkit for painting is the ability to see COLOR AS TONE’. (‘Tone” can also be called tonal value, value, light-dark on gray scale) . The ‘lights’, or light tones, create piccolo sparkle, ‘mids’ create violin richness/sublety, ‘darks’ create tuba gravitas. Deduct the lights and you have somber/moody. Deduct the mids and you have a kind of annunciation, readable from afar, but not all that interesting up close. Deduct the darks and you have ‘ethereal’, pixies dancing at twilight. Together and they give a full orchestra – but there is still the problem of ‘dominance’ – equal amounts of piccolo, violin and tuba are boring.
I would like to share the news with you about my applications to a masters of landscape architecture. I was offered admission to the University of Toronto, the University of British Columbia and the University of Guelph, with generous entrance scholarships for each. I would like to thank you for advising me with my project in architectural modelling class and for all of your advice on portfolios and letters of intent. A substantial part of my portfolio consisted of pieces from your perspective drawing and architectural modelling classes. I’m sure that your suggestions and the skills you taught me helped to strengthen my submission.
Kind regards, E.
Composition is, of course, an important skill to develop. Many books have been written on the subject. DaVinci is reported to have recommended that young painters look at mold stains on the walls and try to see landscapes. This is sometimes referred to as ‘forced’ or re-purposed composition. Henry Rankin Poore wrote on it in the 1800’s and is worth looking up.
The example here begins with a random picture of flowers. This is analyzed by gestural sketch. Next, look at the gestural study until you imagine a completely different subject image based on the original compositional layout. This seems a bit forced at the start, but it becomes easier and quite enjoyable as you do it more often. In this case one can see ‘a race between two cyclists watched by spectators.‘
I regard the Ten Ways of Seeing and Drawing that I often refer to as Magic Windows: Many of them can give a view of something that we don’t, or can’t, ordinarily see through our continually ageing, dusty ‘window pane’ eyes. Space Drawing and Blind Contour Drawing are especially ‘magic’.
Picasso is reported to have said: “It took me four years to paint like Raphael, but a lifetime to paint like a child.”
This was a ‘quick and dirty’ demonstration of one method for designing and making ink drawings using various texturing techniques. (My students did a much better job taking their time – about 1.5 hours). It’s like etching.
CEDR 162: Perspective Drawing
This course is essential for artists, designers, illustrators and animators who wish to create convincing images of form, depth and space. Regardless of the form you work in, you will improve the impact of your work with an understanding of this powerful drawing technique. You will be guided through step-by-step exercises, moving from rough layout sketches to more carefully proportioned images of world architecture, vehicles and the human form.
Everything has ‘gesture’. Just imagine ‘miming’ a bouquet of flowers or even a rock with your hand gestures. If your movements could leave a charcoal record on paper – that’s a gesture drawing. Kinda like ‘air guitar’. Here is a step-by-step demonstration, including the use of a ‘reference frame’, useful for keeping to a scale or staying within a drawing space.