Week 7 Overview
Intro to Drawing
La Grange Art League La Grange, IL 60525
T 708-352-3101
M 312-505-4822
kelleyquinnclark@gmail.com
Week 7 (10/22) Follow up on Negative Space + Seeing v. Knowing + Relativity
Seeing V. Knowing
As you draw, you will often encounter conflicts between what you see and what you know. Our natural temptation is to “make things right” by drawing what we know instead of what we see. It's important to resist that temptation. Our goal in drawing from observation is to capture the richness and variety of visual experience. We should draw, for the time being at least, as if we know nothing, and we're obedient only to what our eye tells us to draw. This is the key to natural, life-like drawing. To understand this is to understand that there is no such thing as hands, horses, or trees. The answer is, we do no draw “things” at all, only lines. To reproduce objects we see on paper, we need to translate what we see into a useful language. The language of “things” is not of immediate use to us. Whenever we try to speak in two different languages, the result is confusion.
The Brain and Perception
Parallel Ways of Knowing | Exploring both ways of thinking
The right brain does not edit or generalize visual information. It perceives form, color, shape, etc., as it exists at the moment of perception, as pure and independent of label or function. By using perception skills of our spatial brains, we will be able to develop accurate drawing skills, as well as free our powers of creative thought.
The Spatial Brain at work...
La Grange Art League La Grange, IL 60525
T 708-352-3101
M 312-505-4822
kelleyquinnclark@gmail.com
Week 7 (10/22) Follow up on Negative Space + Seeing v. Knowing + Relativity
Seeing V. Knowing
As you draw, you will often encounter conflicts between what you see and what you know. Our natural temptation is to “make things right” by drawing what we know instead of what we see. It's important to resist that temptation. Our goal in drawing from observation is to capture the richness and variety of visual experience. We should draw, for the time being at least, as if we know nothing, and we're obedient only to what our eye tells us to draw. This is the key to natural, life-like drawing. To understand this is to understand that there is no such thing as hands, horses, or trees. The answer is, we do no draw “things” at all, only lines. To reproduce objects we see on paper, we need to translate what we see into a useful language. The language of “things” is not of immediate use to us. Whenever we try to speak in two different languages, the result is confusion.
The Brain and Perception
Parallel Ways of Knowing | Exploring both ways of thinking
- Intellect v. Intuition
- Convergent v. Divergent
- Abstract v. Concrete
- Analytical v. Relational
- Analytic v. Holistic
The right brain does not edit or generalize visual information. It perceives form, color, shape, etc., as it exists at the moment of perception, as pure and independent of label or function. By using perception skills of our spatial brains, we will be able to develop accurate drawing skills, as well as free our powers of creative thought.
The Spatial Brain at work...
- Day Dreaming
- Night Dreaming
- Watching movies
- Movement/dance/sports
- Conception of ideas
Seeing Light, Drawing Shade
Relativity
Capturing the solidity and rhythm of a form comes from practice of drawing through. The first two dimensions, the height and width of a form are easily seen and drawn by the beginner. Generally the third dimension of depth or thickness is ignored.
To achieve a feeling of bulk, the pencil should not only draw up and down, but around and through hidden areas. We should draw and construct things as though they were transparent. The pencil should actually sense the form to shoew that it exists in space. Relationship of continuous line will give rhythm and unity to a form. Every line you draw should be related to another line, in direct or close relationship from somewhere to somewhere. Find your way between objects through the use of line and rhythm.
To achieve a feeling of bulk, the pencil should not only draw up and down, but around and through hidden areas. We should draw and construct things as though they were transparent. The pencil should actually sense the form to shoew that it exists in space. Relationship of continuous line will give rhythm and unity to a form. Every line you draw should be related to another line, in direct or close relationship from somewhere to somewhere. Find your way between objects through the use of line and rhythm.
Relativity Samples
Exercises
1. Seeing Light, Drawing Shade; replicate the negative drawings above as you see them with the intention that you are seeing the light and drawing the shade.
2. Using relativity, explore interesting ways to break up the relationships of your object.
2. Using relativity, explore interesting ways to break up the relationships of your object.