Fashionably Paperless

AAU's Fashion Department has gone paperless, I've learned. Impressive. And considering how many handouts I recycle for students who don't show up to class and don't ask for the handouts when next they deign to return, it's an appealing idea. Ideal, I should say.

Here's today's handout, just aching to be printed out on a more functional printer than I have today:

Drawing From Imagination
ILL625-04
John Heebink
penciler@sbcglobal.net

Meeting 3


ROLL CALL

CRIT

TODAY'S TOPICS:
2-P PERSPECTIVE AND ATMOSPHERIC PERSPECTIVE

AND ON LINEAR PERSPECTIVE IN DRAWINGS, IN GENERAL....
Ask not "When do I really have to use it?" but rather "When DON'T I?"
(Answer: For close-ups with no backgrounds)

TWO-POINT GRID Exercise.
2PP Basics
VPs are 90 degrees apart at SP
Cone of Vision is less- rule of thumb 60 degrees. Range: from a few degrees(telephoto) to almost 90 (wide angle)
Don't include SP in your comp.
(IRONCLAD LAW: Horizon is the division between sky and earth, between looking up at, down at.)

Atmospheric Perspective

OBSERVABLE AP PHENOMENA:

{Near to Far}
Dark shadows to Lighter shadows (often reversed at night)
High Contrast Low
Detailed Not
Sharp edges Soft edges
Range of values Only lighter values
Range of colors Pale, cool colors

GRAPHIC TRICKS FOR ATM PERSP

Thicker lines to Thinner lines
Thickened contour line Thin, consistent contour line
More line-quality variation Narrow range of line qualities
More texture, pattern, detail Less
More interior detail outlines contain little or no detail

SILHOUETTTES

Composition reminders
"Variety and Unity"
Shape schemes
Negative space
Asymmetry
Curves vs. straights
Avoiding obvious divisions, variety (esp. of size)
The eye-pushing power of the contrasty edge
Diagonals
"Energy" ...corralled? or radiated?
More on Silhouettes--how to make them "read"
(see pp. 51-53)


Homework #3

In two-point perspective, complete a line drawing of an interior. Remember that all horizontal lines that are travelling away from the viewer will diminish one of two points on the horizon depending on which facet of the object they follow. Special attention should be paid to the scale of objects in relation to other objects in your composition.
PLEASE NOTE:

ALL WORK DONE FOR THIS CLASS SHOULD BE AS REALISTIC AS POSSIBLE, ANY STYLIZATION OR DISTORTION WILL BE PERCEIVED AS A FLAW.

Your grade will depend on your understanding of the principles and constructions involved in the assignment as well as the complexity, accuracy and detail of your drawing. Composition, line quality, clarity and cleanliness will also be factors. Going beyond the call of duty is strongly encouraged as long as you remain true to the brief. Show what you are capable of.

Read Creative Layout Pages 96 - 117, Ch.3 with special attention to the tumbnails and the use of silhouettes.