9-17-18

I'm so sick and tired of always being there for people but when I need a little help, everyone's busy. 

Eryn had a MAJOR meltdown at school today when it was time to get on the bus and when it was time to go she refused to put on her harness or get on the bus and so they called me to come get her. 

I have no car, NO... CAR.... I tell them they have to get her on the bus.. force her if they have to.. get her on that bus... They didn't. They let the bus leave her there.. So now she's stuck at school and I've asked everyone I can think of that's not at work and car 1 is at work until 6 and so is Car 2 and I hate not having a freaking car and Person 1 can't be bothered to help me even though I've helped them, and Person 2 is too far away, Person 3 isn't answering their phone even though I can see them on FACEBOOK!!!! Person 4 isn't even reading my messages and I'm just so tired of things crumbling down around me! I'm done being there for people who are never there for me when I really truly need them...! 

7-3-15

Week 2: Assignment 3 

Assignment 3: Two-Point Perspective Imaginary Street Scene

This assignment will familiarize you with creating an outdoor scene in two-point perspective with rectangular and triangular prisms. You will also learn how to use horizontal and vertical convergence to create depth in your scene.

By Friday, July 3, 2015, complete the drawing project and post it to this Discussion Area.

Using your pencils, paper, ruler, and your imagination, draw an outdoor street scene in two-point perspective that contains the following elements:

• A building or house with a pitched roof
• A fence, telephone poles, a row of trees, or some other vertical row of objects that uses accurate vertical convergence.
• A road, sidewalk, or some other horizontal element that uses accurate horizontal convergence.

Tips for the drawing process:

1. Create an area measuring about 9x12 inches on your 18x24-inch pad of paper so you have a margin surrounding the drawing area. This will allow you to place your vanishing points outside the edges of the drawing in the margins to create a good composition that effectively uses space.
2. Consider the placement of elements within the drawing to create a well-balanced composition, utilizing foreground, mid-ground, and background.
3. Be sure to correctly overlap the elements in the composition, keeping in mind the placement of their bases/footprints on the ground plane.
4. Even though this drawing needs to be a scene from your imagination, remember that you can use photographs as a reference to add details such as architectural elements or complex objects to your imagined scene.
5. Leave your guidelines lightly sketched in, and then switch to a softer (4B, 6B) pencil to darken the finished shapes to help them stand out against the guidelines. Do not press down hard with your pencil.

My Work:

6-2-15

Week 2: Assignment 2

Assignment 2: Basic Shapes in Two-Point Perspective

This assignment will familiarize you with the methods of two-point perspective. You will also learn how to reference the perspective grid to overlap shapes correctly in space and understand how vanishing point placement can influence a two-point perspective drawing.

By Wednesday, July 1, 2015, complete the drawing exercise and post it to this Discussion Area.

1. Using your drawing pencils, paper, and ruler, first lightly draw a horizon line and label it HL. Then draw two vanishing points on either side of the horizon line and label them VP. Use the two vanishing points to fill the page with cubes, rectangular prisms, and triangular prisms in two-point perspective.
2. Draw at least three examples of each basic shape: cubes, rectangular prisms, and triangular prisms. This will result in a minimum of nine shapes.
3. Draw at least two triangular prisms as "pitched roofs" with equal sides on top of rectangular prisms. (Use ”perspective center X” to mark the middle of the side to place the top point of the triangle using the method described in the lecture and reading.)
4. Overlap at least two shapes on the ground plane, keeping in mind the placement of their bases/footprints.
5. Leave approximately half of your shapes transparent (see-through) and make the other half opaque (solid) by erasing away the hidden edges. Please do not shade the shapes to make them appear solid.
6. Draw some shapes above the horizon line, some below the horizon line, and some crossing over the horizon line.
7. Leave your guidelines lightly sketched in, and then switch to a softer (4B, 6B) pencil to darken the finished shapes to help them stand out against the guidelines. Do not press down hard with your pencil.

My Work:

Bridgette Bandell

Maria Ogedengbe

FNDA120 P02

1 July 2015

Assignment 2: Basic Shapes in Two-Point Perspective


For this composition, I decided to place the Horizon Line a bit low so that I had more space to work with on the top area. I placed my Vanishing Points as far away from each other as I could so that the scene was as believable as possible. I found it a lot easier to draw Two-Point Perspective than it was to draw One-Point Perspective. I made sure to check and make sure the Convergence was as precise as possible. I scanned my composition in so that you could clearly see the guidelines I used in completing my assignment. I did struggle with eyeballing the far angle on the pitched roof that is overlapping the Horizon Line due to the shape being so narrow, but all in all, I feel like I grasped this concept quite well.

6-30-15_2

Week 1:  Assignment 2 Discussion

Assignment 2: One-Point Perspective In Action

Original Work:

Instructor Feedback:

You're catching on !

Some of this is really quite good, but there are other areas you can correct - see: http://screencast.com/t/LubDTbp81t

Your presentation looks pretty good, notice the file size we need is 72ppi and about 600 px W x 800 px H.

Revised Work: 

6-30-15

Week 1: Assignment 3 Translating Interiors into Perspective

This assignment will familiarize you with methods used to translate a plan view and elevation view into a one-point perspective view. Observing simple objects and furniture in your own environment, you will be able to visually compare their proportions and illustrate them in your drawing. You will also learn the methods of creating a one-point perspective room interior complete with these simple interior objects.

By Friday, June 26, 2015, complete the following drawing assignment and post it to this Discussion Area.

Download and print out the plan view, elevation view, and perspective view grid templates provided below. Choose at least 4 objects found in your own home and compare the heights and widths of these objects using the sighting method discussed in this week’s lectures. Using your pencils and a ruler, translate these objects and observed measurements to your plan view and elevation view templates, creating an interior space. Be sure to keep objects consistently placed in each view of the space. Include the following:
At least 4 objects in the layout of the room, observed from your own home. Place these objects within both grid layouts. Avoid too much detail on the objects, keep the shapes basic.
One window or one door referenced in both grid layouts.

Using the completed plan view and elevation view grid templates as a guide, translate the objects of your interior to a one-point perspective view using your pencils and a ruler.

Click here to access/download the template

Develop the space slightly to make it feel more three-dimensional. Submit to the Discussion Area.

Revisions

Submitting a revised assignment based on feedback from your instructor is strongly encouraged. This will help ensure that your assignment is completed correctly and allow you to develop your work to its fullest potential. Revisions provide an opportunity to improve your grade and are due by the end of the week. Instructor feedback on revisions will be included in the Gradebook.

Examples

Below are examples of this assignment. Copying these examples will result in a loss of points; be original in your efforts.

MY WORK::

6-22-15_2

Week 1: - Assignment 2 

Assignment 2: One-Point Perspective In Action

This assignment will familiarize you with the methods of drawing shapes in one-point perspective. You will also get a working knowledge of the three characteristics of linear perspective and how they influence depth in a drawing.

By Wednesday, June 24, 2015, complete the following drawing assignment and post it to thisDiscussion Area.

Using your drawing pencils, paper, and ruler, first lightly draw a horizon line and label it HL. Then draw one vanishing point somewhere along the horizon line and label it VP. Use that one vanishing point to fill the page with cubes, rectangular prisms, and triangular prisms drawn in one-point perspective.

Draw at least 3 examples of each basic shape: cubes, rectangular prisms, and triangular prisms. This will result in a minimum of 9 shapes.

Create shapes that demonstrate convergence and diminishing size by making a few of the shapes get smaller and closer together in the background.

Shade in the foreshortened sides of at least 2 shapes.

Ensure that some shapes are above the horizon line, some are below the horizon line, and some are crossing over the horizon line.

Leave approximately half of your shapes transparent (see-through) and make the remaining shapes opaque (solid) by erasing away the hidden edges. Do not shade in the shapes with your pencils to make them look solid.

Leave your guidelines lightly sketched in, and then switch to a softer (4B, 6B) pencil to darken the finished shapes to help them stand out against the guidelines. Do not press down hard with your pencil.

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

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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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.)  2H  2B  B Points Received: 3 of 3 Comments: Question 3. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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. Question : 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: