10th Grade SketchbooksSketchbooks are always due on: A days.

Due: Thurs. September 15.(Supplies: HB and 6B pencils, White plastic eraser.)

1. Fruit bowl: (Ellipses)This is drawing from imagining.

Draw a large ellipse 1/3 of way down from top of paper. Draw a small ellipse 4 inches down. Connect the outside curves of both ellipses on both sides to resemble a

large bowl. Draw fruit from front to back of bowl. (in the example: grapes in front are

series of overlapping small circles or ovals that drape over front edge, oranges are circles with dot/lines for indentations, apples are large curved M shape on top).

Separate forms by hatching. (hatch lines are individual lines, can be drawn horizontally, vertically or diagonally). Lines should be drawn close together and attached to some edge of the form. Draw the direction of light source. The bowl can be located on a ground with a shadow underneath.

Erase any unwanted lines.

Hatching lines following form.

Due: Fri. September 23(Supplies: HB pencil, Felt pens-any colors, fat and thin tips. Choose simple object: light bulbs, spoons, wrenches, hammers, toothbrushes, sunglasses, scissors, screwdrivers, pliers etc…..)

2. Contour with Rhythm (Observational Drawing) 2 separate drawings. Drawing 1 . HB pencil: Draw no smaller than your hand!

Choose one object and draw simple line that follows outside contour of object. Where there’s a groove, draw inward with line; a bulge, draw outward. Look at change in texture or material and indicate by lines, (ex: ribbed metal at end of light bulb).

Drawing 2. Felt markers: Fill up page. Drawing below is just an example of rhythm. Choose another object or same as above to create a rhythmic pattern by repeating contour drawings in color (s). (Keep the object simple!)

OBJECTIVE: Repeating object is to create a sense of movement. (Rhythm).

Choices you must make: Possible arrangement of objects: horizontal across page, overlapping in

circular arrangement, etc. Where to overlap. Rotate paper as you work. Small to large object, or reverse. Objects partially off page. Color(s). Black is option. Thick, thin line. Space on picture plane.

This painting is an example of showing rhythm by overlapping and repeating shapes and value.

By Gino Severini, 1915

Due: Monday, October 3.(Supplies: 6B pencil, choose 1 subject: apple, banana, eggplant, squash, tomato,

pear or pineapple etc.

3. Scribbled Line (mass gesture lines) Observational drawing.

Look at the vegetable or fruit you have chosen to draw. Pick starting point at imagined center. Begin drawing lines that circle the form, avoid contour outline. Never lift pencil, make continuous circular lines, moving across object surface

from back to front. Keep the line moving to describe the object. Line may overlap, circle, twist, turn. Increase pressure for shaded areas, dents, fold, creases.

OBJECTIVE: Dense mass of overlapping lines, outside edge will be fuzzy with no definite line.

Example of a sphere, you will draw a vegetable or fruit.

Due: Wednesday, October 12

(Supplies: pencils HB, 3B, 6B, some kind of bottle) do not copy bottle below.

4. Practice Cross-Hatching and draw cross-hatched Bottle

Crosshatching is one of the techniques used in pencil drawing to create value. Hatching may go horizontally, vertically or diagonally. There may be single sets of hatching marks or the strokes may be overlapped. Keep strokes close together or they will appear more like a cobweb than a value change.

Use tip of pencil make diagonal, horizontal and vertical hatched areas as shown above.

Use an ELLIPSE structure from the fruit bowl assignment and design your own vase or bottle.

HB pencil – hatch or cross-hatch entire form lightly in one direction. 3B pencil- hatch/cross-hatch 2/3 of form, work left to right or right to left. Leave a

section of HB showing. 6B pencil- hatch/cross-hatch the last 1/3. Reinforce gray and dark areas with more pressure on pencil and gradually

transitioning from lighter to darker.

OBJECTIVE: Form should be approximately 1/3 light, 1/3 medium gray and 1/3 dark.

Due: Thursday, October 20

(Supplies: pencil, ruler)

5. One-Point PerspectivePerspective is a technique for representing three-dimensional space on a flat surface. Many artists around the world have employed various techniques for portraying depth. However, it wasn't until the Renaissance that artists invented a mathematical system to show depth logically and consistently. The system of linear perspective gave artists a powerful new tool for creating realistic art.

Before you start, go to this interactive site, Drawing in One-Point Perspective by Harold Olejarz. http://www.olejarz.com/arted/perspective/index.html. Please go through the complete tutorial. Please read the background of perspective drawing on this web site, Human Architecture to Architectural Structure. http://www.mcm.edu/academic/galileo/ars/arshtml/arch1.html

Linear perspective is based on the way the human eye sees the world—objects which are closer appear larger, and more distant objects appear smaller. To create this illusion of space, the artist establishes a vanishing point on the horizon line. Objects are drawn using orthogonal lines which lead to the vanishing point(s). In one-point perspective, the forms are seen face on and are drawn to a single vanishing point. Objects seen at an angle would be drawn with two-point perspective using two vanishing points. In this lesson, we'll focus on one-point perspective.

Bedroom of the Artist - Van Gogh

School of Athens - Raphael

Another World - M.C. Escher

Van Gogh, 1889. Scan by Mark

Harden. Artchive

Raphael, 1510-11. Scan by Mark

Harden. Artchive

MC Escher, 1947. (c) 2002 Cordon Art -

Holland.

All Rights Reserved. Used by

permission.

In one-point perspective, you're usually looking into a room, through a corridor, etc. Because you are looking at something "face on," there will be only one vanishing point. Raphael, in his School of Athens, was one of the first Renaissance artists to figure this out. I've inserted orthogonal lines to show you where the vanishing point is. All vertical lines are perpendicular to the bottom edge of the picture. Along with orthogonal and horizontal lines, they make up a one-point perspective drawing.

Assignment: One-Point Perspective

Part 1

1. Place paper in landscape view.

2. Draw a horizontal line with your ruler lengthwise (extremely lightly) Note: All of my whisper lines will be in the form of a dashed line. This is called your horizon line, where the land meets the atmosphere.

3. Put a dot in the middle of this line. This is called the vanishing point. All receding lines point to this dot. These receding lines are called orthogonal lines.

4. On the left side of your paper, draw three squares. One above the horizon line, one below, and one underneath.

5. Rule #1: You never draw an orthogonal line that goes through an object (unless that object is transparent). So from each corner of the rectangles, you're going to draw a whisper line leading to the vanishing point.

6. Next, you take your ruler and match it up to one of the sides of your boxes.

7. Slide it back along the orthogonal lines and make another line.

8. Do the same with the other side.

9. Darken your whisper lines between the two sets of lines.

10. Repeat with the other squares. Try to make one square really long and the other really short. Notice that you'll only see one side of the square that is on the horizon line.

11. Now erase your whisper lines.

12. To find the center of these shapes, you draw an X as shown. You might need to find the center if you were drawing windows or making letters.

13. To make signs with letters on them, you need to make sure they are in perspective also. The letters should get smaller as they go back.

14. Make sure all of your vertical lines (like on my R and T) are straight up and down. Your horizontal lines should be in perspective (pointed at your vanishing point). Like the A and top of the T.

15. Practice making creative boxes, such as cereal boxes, dice, trains, presents, etc. See what overlapping you can do. Make 5 boxes above the horizon line, 5 below. and 5 on the horizon line. If you like – add color.

Due: Friday, October 28

(Supplies: pencil, ruler, markers)

6. Your Name in Lights!

Write your name in large 1” or 2” gothic block letters. They can be in a straight line or some other imaginative layout.

Leave ½” between letters.

Select a location for the vanishing point. (above, under, or side).

Use ruler to draw lines from each corner point of letter to vanishing point.

Don’t let a vanishing line (an orthogonal line) cross a letter.

You have created planes for each side or surface of letter.

You may choose to cut letters off to make large block letters that look like sculptures or leave all the orthogonal lines there.

Add color or black and white to show difference between the planes.

You may choose to put them in a landscape/cityscape etc.

Due: Monday, Nov. 7.

(Supplies: pencil, a teakettle, a pitcher with handle or any object with a projecting part like a handle to draw).

7. Foreshortening:

Perspective is the process used to represent change in size of objects as they recede in space.

Foreshortening is a technique designed to represent an object that has been extended forward in space (towards the viewer). Foreshortening produces an illusion of the object projecting forward.

Parts of an object must be contracted and layered to depict object Special relationships are compressed rather than extended Each section must overlap the one behind it, BUT now it is overlapping parts of

one shape, not one separate shape overlapping another. Distance between areas is reduced to inches for spaces that could be two feet

long

Place object with handle facing directly in front of you. Maintain one view of object.

Draw the projecting part (handle) on the paper starting with the shape in front.

Study a few minutes and draw exactly where the front part intersects the body of kettle or pitcher etc.

Use diagonal lines to connect the handle by angling them up a little. Use value shading in pencil to show roundness of.

Example of foreshortened spout in front of a pitcher.

Due: Tuesday, November 15

(Supplies: unpeeled crayon or oil pastel)

8. Draw Negative spaceNegative space is referred to as empty space. It is the space between two positive spaces or the space around objects in a still life. It is the space between tree branches you look through. Positive space without negative space is one big endless, shapeless blob.

To draw negative space is to draw air. That is: the air around objects.

Set up your own group of objects on a table top. Stack objects on top of each other.

Choose objects that have an interesting shape and have natural open negative space within the object.

(Some sample objects: ladder, chair, boot, bucket with handle up, watering can, lamp, plant, small end table, etc.)

Use side of crayon instead of the point. (use the right size crayon to get into your negative spaces).

Fill in negative spaces as shapes. DO NOT OUTLINE the positive shapes, instead use crayon to fill negative space. Use entire paper so some positive shapes run off top, bottom and sides.

You may move and alter any of the objects to create more interesting negative space. Make as many drawings as you feel necessary to create fun compositions.

Due: Monday, November 28

(Supplies: pencils, blending stump, kneaded eraser, plastic eraser)

9. Drawing Drapery : Value ChangeDrapery is a challenge to draw because there are no outlines to follow. To draw drapery you will divide the flowing or folded surface into planes. You’ll use value changes to separate the planes.

You’ll move from

White > Gray > Black

Sometimes you can see where the light changes across the form. However, you the artist must often decide where the breaks are to create the sense of drapery as sculptural form.

Practice by copying a detailed part of Leonardo DaVinci’s drawing shown below. Then set up your own drapery still life. You can use a pillow case or towel or any

other cloth you can find. Bunch it up gently and place near a lamp or sunny window. You want to see definite dark and light values so you can draw them.

You may start with outlines, but make sure those become the values that you see. There is not really an “outline” on that towel or sheet. Try some hatching or cross hatching. Remember: it’s all about light and dark next to each other.

Due: Tuesday, December 6.

(Supplies: colored pencils)

10. Invented TexturesBy Simon Dinnerstein, Marie Bilderl, 1971, charcoal, conte’ crayon

A heavily textured drawing like this is a feast for the eyes. You can’t stop looking around this drawing, and everywhere you look there is an inviting texture that holds your interest.

Make a large contour drawing of the shape of a chair in your house. Clearly outline the arms, seat, back and so on. In each divided section invent a texture with colored pencils. You may add more of the room, rug, table, lamp etc., with invented textures.

Due: Wednesday, December 14

(Supplies: pencils, charcoal, blending stubs, erasers)

11. Draw the Head

This artist has drawn all the planes of the face and head flat instead of rounded. This will help you to understand where the features are placed and what stands out further in the front.

Copy this drawing larger than shown on this handout.

Artists for centuries learned their trade by making copies of the masters who went before them. Students in Europe before the turn of the last century would spend hours in the Louvre copying the styles of Titian, Raphael, Delacroix and Ingres.

Julio Ganzalez, Spanish, 1940

Screaming Head

Due: Wednesday, December 4

(Supplies: pencil, eraser)

12. Placement of Facial Features

FRONT VIEW Draw a rectangle and split into quarters. Draw horizontal line to split bottom half again, and top half again. Lower quarter is then split in half again. Using contour line, draw a family member or friend using this division method. Erase or lighten the division lines.

PROFILE VIEW

Repeat above steps.

Due: Tues . Jan. 24 (mouth-nose) AND Due: Wed. Feb. 1 (eye-ear)

(Supplies: pencil, eraser)

12. AND 13. “The Eyes Have It”, “The Nose Knows”, “Spoke Too Soon”, “Can You Hear Me Now”?

Here are 2 pages of sample facial features. These can be helpful to practice copying to gain knowledge of a variety of techniques you will find useful.

Draw 2 different views of a mouth and a nose for first week, 2 different views of an eye and ear the second week. Draw larger than shown here.