Teaching Talia


Posted on: March 16, 2010

Notes taken from Anwen Keeling‘s lecture 2: Tone.


Michelangelo in pen and charcoal.

It has a very convincing 3-dimensional volume. The reason for this is not only the types of lines but the way in which they contour around the form.

He used a cross-hatching of lines which go in different directions

It has strong, well defined edges.


By Henry Moore -sheep.

Quite different type of mark has been used

The curly shape and fluffy shape of the lines actually reflects the wool.  Volume is suggested by building up great quantities of marks.

Building up of volume of space through a lot of scribbly and built up lines to create a sense of the presence of a person…

Often drawings are divided up into line work and tonal work
Lines have almost disappeared and that what is known as a tone or a value gradient can be seen.
Terminology for the change from light to dark is known as a value gradient
In drawing in general either a three-tone scale or, in most cases, eight different tones are used to describe the scene
Wet & Dry Media
Character of the drawing depends on surface, and also medium.
Dry like a pencil or chalk, or wet like a brushed ink wash. Media are also hard (pen) or soft (pastel).
Larger scenes: it’s necessary to render in a more obvious way the spatial relationship between different parts of the subject or the subject in the context of its background
The three major methods of transposing three-dimensional to two dimensional are Orthogonal projection, Oblique Projection and Perspective.
In western culture the major way for making 3D objects into 2D paintings/drawings has been perspective.
John Constable is called Kitchen Garden at Golding, Constable’s house, c. 1814, pencil 30.2 x 44.9, (as Golding Constable’s kitchen garden)
* big range of objects from the foreground to the background
* need to have a vanishing point
* hedge on the left and the row of the hedge on the right are diagonal lines which point towards the horizon line
* bushes in foreground much larger
* the bushes in the foreground are much larger of course than the very, very minute bushes and trees in the background
* So one of the key characteristics of perspective is that the things in the foreground are much larger than the things in the background, so we can also tell roughly how far the figures are away from us by how small they’re getting
Scale & Resolution
The effect of the physical size of an original analogue drawing is another important part of the impact it makes on the viewer.
The effects of scanning, sampling and enlarging are another part of the drawing media available to you.
There’s an enormous number of ways of representing space on a page available for drawing.
Once the subject is identified and the purpose of the drawing known, then the type of mark, the style of representation, the use of media and scale can be decided accordingly.
Video 1: Chosing object to draw for tonal still life.
Glass, Ceramic or Metal. Light shining on them adds interest- we should have light shining on it to make our drawing more active.
Metal: something with multiple reflections
Ceramic: Choose simple shapes with high glace so that highlights are picked up
Glass: Looks interesting and makes object behind it interesting.
You will need:
1. a CERAMIC object, preferably with a high level of glaze (such as a bowl, pot, tea cup and saucer, jug etc)
2. a transparent GLASS object, (such as a bottle, vase or jar)
3. A METALIC object (such as a silver teapot, a pewter mug, brass candle stick holder)
4. A DRAPE (a piece of cloth such as a table cloth or scarf which is either a plain colour or has a simple large pattern).
5. A PIECE OF FRUIT (such as grapes,pineapple,lemon)
Take a photo, upload to forum. Comment on another student’s selection using the following criteria:
A. whether or not the shapes and sizes of the objects compliment each other. Are some objects too small or too big for the composition?
B. if the reflective qualities of the metallic and glass objects are sufficiently complex to make an interesting drawing
C. check that occlusion has been used effectively both with opaque and transparent objects and make suggestions of alternate positioning which may make the drawing more dynamic or balanced. Eg if there is a larger object partially covered by the glass object it will be understood that the strange distorted image seen inside the glass is a section of the larger object

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Just finished my Graduate Certificate in Cross Disciplinary Art and Design with UNSW.




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