Value, Light and Form

Value, Light and Form

This past Wednesday we talked about value, light and form. And we applied this knowledge as we started the shading process.

This value scale (seen above) is the palette we use for shading. This scale is broken down into 5 values.

Here we are applying our value scale to what we are learning about light hitting form, in this case a sphere. (Notice that every transition of value on the sphere is assigned a number from the value scale. Also note that the value scale here is broken down into 9 tones, compared to our 5. There are an infinite number of values in the visible world, but we break them down to make them manageable).

Here is the sphere I started to demo during class.

Homework: Continue shading your Bargue plate, and if time allows try your hand at the sphere drawing, presented in our text book, 'Beginning Drawing Atelier'.

Bargue Plates

Bargue Plates:

This past week in class we discussed 'Volume' and introduced light and shade into the discussion. Then we looked at some 'Bargue Plates', and saw how  light and shadow 'planes' are demonstrated in a drawing.

This is my demonstration of how to 'Block-In' a drawing, using a Bargue Plate as a reference. The image above reflects the first stage of the drawing.

In the image above, I have carried the drawing to the next stage, which is 'massing-in the shadow shapes', with a light veil of tone (just enough contrast to differentiate light from shadow). Note that this is the intermediary stage between the 'Block-In' and the 'Shading'. By massing in the shadows, we are setting the stage for the shading process. For your homework, bring your drawing to the level of the stage indicated above. Next week we will further discuss light and shadow, tone, and then start shading.

For fun, check out this finished Bargue plate, drawn by a young Pablo Picasso...

Block-In Drawing Demo

Here is a demo I did for the 'Drawing: A Visual Language' class, at Alma Mater. The drawing is a 'master-copy' of a beautiful drawing by Leonardo Da Vinci.

And here is my 'block-in' drawing, after the original Da Vinci drawing...

The stage shown (above) is first step of the block-in. Notice that I am not focusing on detail or features, but rather I am thinking of the most general relationships. Here are the steps of logic that I've taken to get to this point:
-Consider the vertical Top, Bottom, and Middle of the drawing.
-Start Blocking-In the major directional lines / angles.
-I am keeping my lines straight, light.
-I am carrying my lines through. Notice the line of the neck does not end at the neck, but extends upward. In this way, I am focusing on big relationships / connections. Remember the principle of *UNITY*.
-Don't let the construction lines dominate the drawing. They should be lighter than the block-in lines.
-Once you have drawn out the contour, measure (using a long pencil, skewer, or knitting needle) the width against the height.

The stage shown (above) is the more advanced stage of the block-in. Remember, this is still a primary stage of the drawing. In this stage, I have broken down the big general lines into more specific contours. I have also started to consider the shadow shapes on the inside of the head.

If all of this is overwhelming, take heart. It is a lot, at first. But it is worth it, as these stages will help you to draw well. We will review these concepts this next week.

Portrait of Ron

I enjoyed having Ron, the artist,  sit for me, and a  group of artists. Lots of character to him.