New Fall Workshops at Emily Carr University of Art & Design

PERSPECTIVE DRAWING 

8 Sunday Mornings -9:30-12:30 – Oct 16 – through Dec 11 (Off Nov 13)
Expand your drawing, illustration, or painting practice through the creative power of perspective drawing techniques.

Students will how technical precision meets visual concept in this introductory perspective drawing course. Learn how to render accurate perspectival objects and scenes as well as manipulate space and form to create experimental compositions.


CREATIVE DRAWING AND ARCHITECTURE

8 Sunday afternoons – 1:30-4:30 –  Oct 16- through Dec 11 (Off Nov 13)
This structured, high-energy course develops your basic to intermediate drawing and sketching skills, specifically related to space and spatial concerns.

Exercises and projects focus on applying principles of perspective drawing 1, 2, 3 point and fisheye, sketching concepts, and compositional strategies. A variety of creative freehand techniques will allow you to develop your approach to architectural drawing.

Perspective Drawing

Emily Carr University Continuing Studies

Online CEDR 102 F001
Oct. 13 to Dec. 1, 2020
TUESDAYS 6:30pm to 9:30pm
8 Sessions @ 3 hours

Perspective Drawing

This course is essential for artists, designers, illustrators and animators of all fields who wish to create convincing images of form, depth and space. Regardless of the art form you work in, you will improve the impact of your work with an understanding of this important and 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, objects and the human form.

Register By Phone  (Covid absences) Contact the Continuing Studies Registration Desk at: 604-844-3810
For further inquires or assistance with online registration email: csreghelp@ecuad.ca

Tony O’Regan
toregan@ecuad.ca

Creative Drawing and Architecture

Emily Carr University Continuing Studies
Online CEDR 163      F001
Oct. 22 to Dec. 10,  2020
THURSDAYS 6:30pm to 9:30pm
8 Sessions @ 3 hours

Creative Drawing and Architecture

This structured, high-energy course develops your basic to intermediate drawing and sketching skills.  Exercises and projects lead to understanding and applying perspective drawing, sketch concepts, including the “figure-ground” concept, and compositional strategies.  A variety of creative freehand techniques develop your approach to architectural and figurative drawing.  Class work includes some drawing of the human figure for scale and context.

Drawing Architecture is a special category within the subject of drawing.  Treating architectural subjects creatively requires an awareness of architectural ideas, as well as knowledge of the various ‘ways of seeing’ and the drawing types related to them. Participants will go through Ten Ways of Seeing and Drawing (gesture, contour, mass, space, tonality, silhouette, figure-ground, light-shadow, perspective, composition) and learn to utilize them with architectural subjects.

The goal is to be able to draw ‘creatively’ by using these modes as a photographer might layer filters to make more inspired images. This course is of value to anyone interested in drawing architecture, whether as part of an art form in itself, as an aid to design or as portfolio preparation for application to design programs, such as architecture, planning or interior design programs, etc. We will study buildings and spaces, both interior and urban, ancient and contemporary.

Register By Phone  (Covid absences) Contact the Continuing Studies Registration Desk at: 604-844-3810
For further inquires or assistance with online registration email: csreghelp@ecuad.ca

Tony O’Regan
toregan@ecuad.ca

A Composition Technique

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.

 

DAY 4 CDA – PERSPECTIVE ARCH GATE AND UMBRELLAS {June 24 2017)

This is a video of a 1-point perspective urban scene that I hope you will try.

Also, look at an earlier perspective with a similar theme. If the link below doesn’t work directly ,  copy-paste into the search box at upper right of webpage.

Shadbolt Center Tas Drawing Perspective Italian Village Street  (may 5 2017)

 

Reflections Sailboat Mirror Studies

People have asked if reflections should be longer, shorter, or the same as the actual object. The annoying answer is “It depends.” I made a little sailboat (about 3 inches high) by carving a white vinyl eraser and making a sail by cutting a credit card, painting it white and drawing a curve with a sharpie. I placed the model on a hand mirror and took some shots. I have done the same thing with toys of animals, people, etc. I like to make little quick model set-ups to study such problems, including light, shadow, etc.  As you can see, the height of the reflection depends on the angle of the object vs. the mirror surface. The same thing applies to mountains or trees along a lake edge.

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