REFERENCE - All about the LINE

 Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

Project 02: Elements of LINE - Organic / Geometric Compositions

 Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) dynamic line compositions that suggest texture, movement, using a variety of line weights. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Wednesday, September, 16th 

Tues/Thurs, beginning of  class:   Thursday, September 17th

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2) or (2) pages in your sketchbook

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

The two compositions should be well thought out. Think about the way your eye moves across the drawing. Think of heirarchy, Emphasis, focal areas, unity, cohesive design, flow. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH nature around you, patterns textures, use your imagination to create a cohesive design.

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing

Project 02: Line - Organic / Geometric Compositions

Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) dynamic line compositions that suggest texture, movement, using a variety of line weights. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Monday, September, 9th. 

Tues/Thurs, beginning of  class:   Tuesday, September 10th. 

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

The two compositions should be well thought out. Think about the way your eye moves across the drawing. Think of heirarchy, Emphasis, focal areas, unity, cohesive design, flow. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH…. DOIN UR MOM DOIN DOIN UR MOM

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing

REFERENCE - Figure/Ground Relationships

Figure/Ground Relationship

The figure/Ground relationship is the most basic of all relationships in design. It refers to the relationship between positive and negative shapes, and is used as an aid in 2-D composition. 

In art/design, one way we define space is by placing objects in it. This creates a relationship (object-in-space). Something and nothing. Placing an object IN space, defines that space, and CREATES a Figure/Ground Relationship. The object becomes the figure, and the space becomes the ground. 

Here is another way to think about it: The part of a composition that we pay attention to is called figure.  Everything that is not figure is ground. As attention shifts an object can go from figure to ground and back. Positive/Negative shape are analogous terms for Figure/Ground. 

Three Main Types of Figure/Ground Relationships

The figure and ground are inseparable. The figure always defines the ground, and the ground defines the figure. If you draw the figure in a composition, you are drawing the ground at the same time.

Stable-  Unchanging. You know what the figure is, and what the ground is. The focus of our attention does not change. 

Reversible- The positive and negative space/elements attract our attention equally. Our attention is drawn back and forth between the two. 

Ambiguous- The positive and negative space/elements challenge the viewer to find a focal point. What is the figure? What is the ground? Figure is entangled with ground without dominance. Ambiguous f/g relationships are usually abstract. See example below.

Rubin vase—an ambiguous figure/ground illusion. When you see the faces as figure, the vase is the ground. When you see the vase as figure, the faces are the ground.
The viewer shifts from one figure to the other but do not to see both as figure at the same time.

Compositional element within F/G relationships

Active- group elements off-center (asymmetrical) to create visual movement. 

Neutral- centered compositions are stable, not dynamic. Do not center! 

Bleeding- dynamic (it bleeds of the page, and can’t be contained)

Cropping- creates abstraction

Balance in F/G relationship 

In Stable relationship- balance (size/shape) = unified design.

In Reversible relationship-  balance (size/shape) = tension. which is which?

In Ambiguous relationship- balance (size/shape) = action. all space is active. 

Tips on working with figure/ground

• Balancing figure and ground make the composition more clear.
• Using unusual figure/ground relationships can add interest.
• Spaces with convex (a), symmetric (b), smaller in area (c) or enclosed (d) shapes are “seen” as figure.
• An expressive use of white space requires an asymmetrical design. Centering kills the white space (dividing it into unusable emptiness). Asymmetrical design creates a NEED for interestingly shaped white space. 
• A deliberate use of white space creates + and - space that are equally important.

Sample Figure/Ground Relationship Studies

                   

Project 02: Line - Organic / Geometric Compositions

Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) dynamic line compositions that suggest texture, movement, using a variety of line weight . You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Wed, September, 5th. 

Tues/Thurs, beginning of  class:   Thurs, September 6th. 

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

The two compositions should be well thought out. Think about the way your eye moves across the drawing. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH….

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing

02 - TYPE - SELF PORTRAITS (Spring semester)

In this assignment you will create a self-portrait using free hand rendering type. You will be using your name or if you prefer your nick name or first name, what ever option you prefer, but only one of them. You will be using primarily pilot fine point marker, good ink pen, Mechanical pens of different point sizes or... black ultra-fine sharpie. Use fine, medium and thick points using them together to distinguish line weight when creating your composition.

Create a well balanced composition (be aware of positive and negative space between subject and background - figure/ground) using all the principles we have been applying... cropping, interesting framing, different angles, diagonals, scale, keep away from centered boring layout. Be creative with your layout and be expressive!

This is mainly to build out and define details in highlights, mid-tones, shadows, shading, gradients. be very aware of your VALUES, contrast in your composition, positioning of your portrait density, texture in areas necessary. Pay attention to mark making and  craftsmenship. The more refined features that are delicate require finer points etc... Pay attention to details, shape and/or style to create different values and shapes in your composition. Remember your values... broad range of dark to gradual lighter pallette when appropriate.

Materials
• Bristol 9x12” format
• different thicknesses from Fine-medium-thicker point pen, gel pen, dark ballpoint

Process
Start with at least 4 expressive thumbnail sketches in your sketchbook, once you have an interesting composition move to the big paper. Outline/map out your composition with a light pencil sketch to use as a guide in developing portrait and then apply the inks.

Samples