Week 9: Figure - Gravity and drapery

Week 8: Anatomy - refresher

Human anatomy can be captured on paper if proper knowledge is present.  Basic poses give additional information of the structure of the body in shape. As muscles are attached to the skeleton, they have their own position even not clearly visible in some cases. However Strong light helps to catch the shape of them.
On study pictures 2 and 3, the light comes from the right side of the model. This help for stronger and sharper outlines of deltoids, pectoralis major, biceps brachi. Rectus abdominis is split by Linea alba, which gives the double light effect on the second picture.
Tibialis anterior is highlighted by the projector . Its shape is expressed in darker colour by the reflected shadow cast over Gastrocnemius. That gives the base shape of the muscles in the lower part of the leg. Rectus pemoris in combination with  Tensor fasciale latae and Vastus lateralis create the main shape of the front upper part of the leg. The highlight lines are curved due to the nature of the muscles. The poses on both coloured picture prevent the illumination of the Clavicle.

Week 7: Transparent surfaces, refraction and distortion

On this picture, the vantage point is focused on the main body of the skeleton. As a simple 2 dimensional plane nature of the mixed media is utilized as main colour for the mid-tones.
The vanishing points are far tot he right and left in the composition. The horizon line is slightly above the foil sheets. That gives deeper distortion in the reflection of the skeleton.

The bended reflective surfaces distort the shape of the object in a way that is unrecognizable. In addition, the light adds in giving sharper contrast in the tonal values. The emitted shadow is highly dispersed in the reflection of the glossy surface. This leads tot he strange shaped refraction of the study item.

To balance the white chalk which dominate on the picture, two black chairs are added as raw and unpolished background. That does not take away the main focus of the skeleton and it's shadows and reflection. The angle of the background lines leads the eye from left to right and back in implied curved line that starts from the white top-right reflection and finishes with the second black chair.

Known mistake is the representation of the mismatched right hand. It is drawn slightly right of its original position.

Week 6: Man‐made forms in detail ‐ vehicles

National Industrial Museum

Man-made forms are highly detailed and the materials used for their creation highly influences the highlights and shadows. Smooth surfaces have higher light reflectivity, which leaves blank spots due to the polished surface.
The vantage point is focused on the vehicle which is situated in between two other, represented as rough shadows. This is used to show the composition and the surroundings. As the main focus is on the man-made the other cars are expressed as shadows.
 The strongest reflection of the light source is being expressed by the white areas on the fender. The shape of it is not only a key factor for capturing the nature of the material but also a way to show the shape of the object.  The cast shadow below the main body is slightly dispersed due to the high number of illumination sources.
 The tonal variety on colours is based on the specter of colour and the material. Less polished and shiny surfaces are being depicted by mixture of lines with different angle. Usually they follow the shape of the subject and the construction of it.
As the back wheel is not visible, additional calculation and observation has helped for its positioning and shape.

Week 5: Subtle tonal value and perspective - skies

Due to the hour of the day, the skies are coloured in darker blue. The sunrise rays are deflected in the clouds giving them the vibrant hot gamma from yellow to red.
The depth is expressed by the situation of the clouds in relation to the landscape objects. There is no visible shadow cast on the ground because the horizon line is the point of light source.

Week 4: Urban Landscapes ‐ impressionistic method

Chesham window view looking towards the construction yard
impressionistic techniques for representing shapes
shadows added to project the perspective of the buildings and to express the basic shapes of the objects

Week 3: Landscape - Perspective, tonal value and mixing media

The horizon line in the composition is situated above slightly the eye level. Due to the construction plane, the depth of the 3 dimensions is presented ad strokes with different angle that leads from edge to edge. However the low contrast of the colours is unhelpful to underlne the depth of the buildings.

The pink media is used to sharpen the natural forms of the Atrium by opposing the high contrast of the background colour to the softer and less saturated pastels. The inconsistent
stokes in the direction of the planes of the building are used to present the transparent material. To visualise the shadows, augmenting saturation of the colour is used as well as additional darker tones for contouring the extreme difference between light and darkness. The high saturation of the paper colour bleeds through at the corners of the buildings. This helps expressing the sharp edges in their natural forms.

Week 2: Landscape - Perspective

The focal point in the composition is the dark corner at the ceiling. Most of the vanishing points are farther tot he left due to the positioning of the view point. Most visible is the line of the arches from left to right. That leads the eye in spiral that centers around the black wood piece in the ceiling corner and expands around the shields and the corners of the arches. the human figure is lightly sketched in the background as a relative scale to the height of the building.

Charcoal as a rough medium is combined in expressing uneven surfaces such as stone and granite, which are the main materials used in the construction of the building. By layering long side stokes is produced the circular column effect which strongly expresses the 3-dimensional view.
Double layered platform depict the deeper nature of the materials. Smudging is used only as base for constant colours where the shadows are almost invisible due to the light coming from windows above.
The lesser saturation in the main composition gives the drapery the high contrast needed to express the difference between the fabric and the tiles.
The successful use of different charcoal techniques gives depth and finished look of the drawing.

Week 1: Basic Steel Life

  Basic composition of still life is presented as a combination of objects and light source. The horizon line is slightly above the middle of the ball and the vanishing points are far to the left and right. That is the main reason why this picture is considerate two point perspective drawing. The tree dimensional forms are produced as a shade of the light sources and the hue of the shadows produced by the objects.

The focal point as presented is the ball with drapery. By strokes leading from the shadow to the light, that express the volume in gradually changing the value of the shades. Technique of layering gave the drapery wrinkles more realistic look. The reflected light at the corners of the drapery is essential for former representation of  deeper 3 dimensional illusion. The texture produced by charcoal smudging adds  polished look. The drop shadow cast from the composition and the background are intentionally created by uneven use of the long side of the charcoal. The raw effect helps focusing the eye on the main object - the ball in drapery.