Escape: Observational Drawing

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Monday, June 22, 2015

6-22-15

Perspective Drawing | FNDA120 P02

Week 1: Day 1 - Autobiography

By Monday, June 22, 2015, please write a quality autobiography by stating your drawing-related experience and including a pre-instructional drawing of animagined interior scene that uses one-point, two-point, or three-point perspective.

Your autobiography should be one to two paragraphs in length and should be written using correct spelling and grammar.
The drawing of the interior space should be invented, not based on an existing interior. Complete the drawing with pencil on paper and include the following elements:

Furnishings.
An adult figure (yourself, a family member, or friend)
A light source with cast shadows

As stated, you may choose the level of perspective for your interior scene drawing. A one-point perspective view is directly facing a wall. A two-point perspective view is directly facing the corner of the room. A three-point perspective view is a very high or a very low point of view.

It is understood that this drawing will be completed with no prior direction from this course. The drawing will not be graded based on quality; it will simply be used to measure your overall growth in the course. Do your best given your current skill level and have fun with the exercise.

Autobiography

Bridgette Bandell

6/21/2015

Hello everyone, my name is Bridgette Bandell and I am a 29-year-old mother of 6 who recently moved to Richland, Washington. I have chosen to pursue an education in Graphic Design to obtain my bachelor’s degree. I have always been a creative person drawing, coloring, editing almost every picture I can before anyone sees it, etc. I have experience in J Wildfire and Photoshop CS6, and some GIMP but not much. Graphic design started as a hobby, but when I realized I loved it, I wanted to go further. I have already successfully started my own company Bookworm Productions. We are an independent author, service provider. I have already created some successful book covers for authors and edited two books and would like to be able to have a better grasp on a few things designing wise so that I can make better covers and have the schooling behind me to prove that I know what I am doing in this field!

I can't wait to be able to give my customers the best I can do for them!

Some examples of my most recent work for some books on Kindle are as follows:

Raven's Armor -  http://amzn.to/1uVveKu
Zombie Addiction -  http://amzn.to/1kKVLjH
On Dreaded Wings -  http://amzn.to/15uV5Oq

Wednesday, February 11, 2015

2-11-15_2

Observational Drawing

Week 4: Assignment 1 Practice Exam

Assignment 1: Exam

Grading Summary

These are the automatically computed results of your exam. Grades for essay questions, and comments from your instructor, are in the "Details" section below.

Date and Time Started:	2/11/2015 1:54:38 AM
Time Spent:	02 min , 28 secs
Points Received:	30 / 30 (100%)

Question Type:	# Of Questions:	# Correct:
True/False	3	3
Multiple Choice	7	7

Grade Details - All Questions

Question 1.

Actual textures are real.

Student Answer:

True (Actual textures are real. Actual textures refer to the texture of the medium used to create art. For example, a relief painting or sculpture, a textile wall hanging, or mixed-media collage.)

False

Points Received:

3 of 3

Comments:

Question 2.

Textural contrast can be created by:

Student Answer:

Including similar texture

Including different textures (Textural contrast can be created by including different textures. Incorporating texture in a composition can add to the sense of realism and visual interest, but it also provides an opportunity to imply textural contrast. For example, placing a smooth high-gloss piece of pottery in front of a stone wall can create contrast between these two textures.)

Neither a or b

Both a & b

Points Received:

3 of 3

Comments:

Question 3.

Translucent surfaces allow diffused light to pass through.

Student Answer:

True (Translucent surfaces allow diffused light to pass through. Shadows and shapes can be seen through translucent objects.)

False

Points Received:

3 of 3

Comments:

Question 4.

Texture, by definition means:

Student Answer:

The tactile appearance of the surface of an object

The visual appearance of the surface of the object

Neither a or b

Both a & b (Texture by definition is both the tactile and visual appearance of the surface of the object.)

Points Received:

3 of 3

Comments:

Question 5.

Transparent objects allow light and images to pass through unobstructed.

Student Answer:

True (Transparent objects allow light and images to pass through unobstructed.)

False

Points Received:

3 of 3

Comments:

Question 6.

Which tool is better for lifting off areas of charcoal to render details:

Student Answer:

Kneaded eraser

color shapers (The tool which is best for lifting of areas of charcoal to render details is (b) color shapers. Color shapers are effective for lifting off charcoal to gain the detail you need.)

Neither a & or b

Both a & b

Points Received:

3 of 3

Comments:

Question 7.

Cast shadows have:

Student Answer:

Solid even black values

Tonal variation (Cast shadows have tonal variation. One of our key considerations when approaching cast shadows is their inherent translucent quality. This means that the cast shadow contains overflow or traces of the light source that through it, which results in the tonal variation that we see in cast shadows. This can be a result of bounced or reflected light off an adjacent surface, also referred to as a fill light, or a result of reflected light off the object itself. If we look at the example of the cast shadow in the forsythia image, we see reflected light off the image in the center of the shadow, and then it gets gradually darker as it moves out.)

Neither a or b

Both a & b

Points Received:

3 of 3

Comments:

Question 8.

Adding opposite or different textures will:

Student Answer:

Create a messy drawing

Add visual contrast (Incorporating texture in a composition can add to the sense of realism and visual interest, but it also provides an opportunity to imply textural contrast. For example, placing a smooth high-gloss piece of pottery in front of a stone wall can create contrast between these two textures.)

Neither a or b

Both a & b

Points Received:

3 of 3

Comments:

Question 9.

When adding textures to your drawings you should:

Student Answer:

Add your textural elements and tonal values at the same time (When adding textures to your drawing you should build your textural elements and tonal values at the same time. A common struggle that students encounter with texture is that they wait to address it in the final stage of the drawing process and approach it as a detail that sits on top of the surface of the form. Oftentimes, this will result in the texture appearing separate from the form, and in the end, the texture will fail to be convincing, and the composition will lack unity. In order for a texture to conform consistently to a form, it must be depicted using the same light source that has already been established in the scene.)

Add your textures at the final stage of your drawing

Neither a or b

Both a & b

Points Received:

3 of 3

Comments:

Question 10.

Reflections are:

Student Answer:

light or images bouncing off a mirrored surface (Reflections are light or images bouncing off a mirrored surface. The surface itself is referred to as a reflective surface.)

Curved

Neither a or b

Both a & b

Points Received:

3 of 3

Comments:

2-11-15

Observational Drawing

Week 3: Assignment 1 Practice Exam

Assignment 1: Exam

Grading Summary

These are the automatically computed results of your exam. Grades for essay questions, and comments from your instructor, are in the "Details" section below.

Date and Time Started:	2/5/2015 8:38:38 PM
Time Spent:	02 min , 02 secs
Points Received:	30 / 30 (100%)

Question Type:	# Of Questions:	# Correct:
True/False	6	6
Multiple Choice	4	4

Grade Details - All Questions

Question 1.

Contrast between light and dark establishes edges or boundaries between forms, how dark or light an object is compared to the object or space next to it.

Student Answer:

True (Colors can be translated to dark or light value, absorbing and reflecting different amounts of light. Dark colors will absorb more light so value changes won’t be as apparent as on light or white objects, which will reflect more light.)

False

Points Received:

3 of 3

Comments:

Question 2.

Which of these is the softest grade of graphite pencil?

Student Answer:

4B (Reflected light is the light bouncing off of another surface onto the shadowed side of an object. This usually appears as a thin line of faint or subtle light near the base of an object just above the cast shadow.)

Points Received:

3 of 3

Comments:

Question 3.

When a single light source is present, shadows will fall to the same sides of objects in a set-up.

Student Answer:

True (When there is one light source on a set-up, the cast shadows will be on the same sides of the objects opposite the light source and the highlights. This is important for consistency and realism in shading.)

False

Points Received:

3 of 3

Comments:

Question 4.

Compressed charcoal and vine charcoal will give the same types of dark values.

Student Answer:

True

False (Vine charcoal is the softest and most versatile form of charcoal. It is easy to apply, blend, and erase; however, it can be difficult to achieve dark, even, black tones and it does not adhere to the paper as well as compressed charcoal. Compressed charcoal is sold in sticks and blocks. It is very dark and does not erase easily.)

Points Received:

3 of 3

Comments:

Question 5.

To begin developing shading in a drawing once the basic shapes, composition, and proportions are established, block in the darkest values across the scene first.

Student Answer:

True (To begin developing a drawing, start with a gesture sketch, then block in your objects as geometric shapes using sighting, take a moment to step back and assess the perspective and proportions, and then systematically establish the darkest shadow areas first to describe a consistent light source. Everything opposite the light should be a darker value, everything closest to the light is a highlight, and everything in between these two extremes is a transitional tone.)

False

Points Received:

3 of 3

Comments:

Question 6.

Edges or boundaries of objects and spaces are defined by the contrast of values, light against dark, rather than outlines.

Student Answer:

True (Contrast between light and dark establishes edges or boundaries between forms, how dark or light an object is compared to the object or space next to it. Location in course lectures: Logical Flow of Light & Shadow, interactive tutorial with eggs.)

False

Points Received:

3 of 3

Comments:

Question 7.

What is reflected light?

Student Answer:

The lightest part of an object

The effect of light on an object caused by light bouncing off a surface plane (Reflected light is the light bouncing off of another surface onto the shadowed side of an object. This usually appears as a thin line of faint or subtle light near the base of an object just above the cast shadow.)

Light values around an object

Light passing through a transparent surface

Points Received:

3 of 3

Comments:

Question 8.

Which condition is important to consider for realistic shading in a drawing?

Student Answer:

Light direction

Surface texture and color

The directions, proportions and relative values of shadows

All of the above (Study the direction of the light source on the scene, and how this determines the directions, sizes and relative values of shadows and cast shadows. The surface texture and color of an object will also affect the amount of contrast. Colors will absorb light while light or white surfaces will have more intense highlights.)

Points Received:

3 of 3

Comments:

Question 9.

The values between the lightest and darkest values in a scene are called what?

Student Answer:

Middle values

Highlights

Shadows

Transitional tones (Transitional tones refer to the way a value becomes darker or lighter across a form or space. These are most apparent on rounded forms, where the change from dark to light is often smooth and more gradual than on angular geometric forms, where the change can be more distinct between surface planes.)

Points Received:

3 of 3

Comments:

Question 10.

An effective way to see values and value relationships in a scene is to squint at the subject.

Student Answer:

True (Squinting helps to see the essential shapes and positions of the main areas of light and dark in a set-up or scene.)

False

Points Received:

3 of 3

Comments: