Foreshortening

Foreshortening

Foreshortening is basically an optical illusion created from a compressed looking drawing in perspective. This perspective is distorted in order to create a false sense of depth, and is used a lot in comics – Like Superman flying with his outstretched arm coming out of the page, or a fist connecting with a villain’s face, etc. These drawings you see that appear to come off the page use some form of foreshortening to create that illusion.

Note how the size of the hands get bigger as they get closer and the arms get smaller. 

Here is a another simple tutorial by Gene Kelly:

Cross Contour Drawing

Cross Contour Drawing

Essentially, cross contour drawing is a technique that takes the line that you are creating across the contours of the form, crossing over both horizontally and vertically. An object is viewed from a particular angle and represented in a linear fashion so that it appears three dimensional on paper. 

Topography

Imagine a mold that has been designed to fit the complex contours of your face. It must cover all the angles, raised and inverted, and carry the planes created by your facial features. Drawing an object using cross contour will map out all the details of an object, much like a grid. Every object carries its own unique topographical stamp that can be illustrated with pen or pencil.

Imagination

• Chances are, you don't need a busy configuration of lines to suggest the form of an apple in a drawing. Your imagination has already taken the cues of the apple's outline and stem to understand that this is an apple. While practicing this technique, it's a good idea to omit some of the criss-crossed curves and lines so that the viewer's creative process can work. Leaving some room for suggestion also makes for a more artistic and less technical feel within your art.

Express

Cross contour drawing needn't be stoic and mathematical. The essence of the object can be represented in a variety of approaches with this technique. Adding energetic lines or varying the pressure of your pencil can create an emotional feeling. With a relaxed flick of the wrist, you will quickly find that you can easily sketch any object.

What You should be looking for are the different planes in your subject and how the form changes across the surface of each plane.  Imagine in your mind that where two planes meet they create a corner. These corners will help you establish the peaks and valleys.

Assignment
Due Feb 5

Draw your hand using cross contour.
On a 18 x 24 drawing pad 
Draw a life size hand.
Crop and create a boarder.
Use graphite and or Ink.
Remember to vary your line. 

Blind Contour

Blind Contour 

Blind Contour drawing is a favourite with drawing teachers to develop hand-eye communication. Contour drawing is essentially outline drawing, and blind contour drawing means drawing the outline of the subject without looking at the paper. The end result doesn't matter - what is important is carefully observing the subject.

I prefer to slightly stretch the meaning of 'contour' to include lines generally, so that from time to time the line will wander across the form and back out again, capturing little details along the way. In this exercise, avoid lifting the pencil from the paper so that the line is as continuous as possible, and most importantly, DON'T PEEK! If need be, work with your sketchbook under the table. If drawing on loose paper, you may need to tape it in place.

The Aim: Practice following contours with hand and eye.

Composition

What is Composition? 

Composition is the placement or arrangement of visual elements or ingredients in a work of art or photograph, as distinct from the subject of a work. You can think of it as the organization of design, form, ordering, or formal structure. 

How can we make good compositions?

Here are a few things to think about and remember
Negative space
Positive space
View point or perspective
Focus
Rule of 3rd
Rhythm
Lighting
Contrast
Repetition
Breaking the rules: tension or unease
Color

I also like to relate it to other mediums like music or dance to help me remember. 

Negative Space

Negative Space

When most people draw, they approach it as an “object-oriented” exercise. Thats because we are generally 

drawing an object, which occupies a certain space within a room. There it sits - boom - simple. Well, it’s not

really that simple. There are other forces at work here. If you look beyond the space beyond the thing you are 

drawing it creates interesting negative shapes, planes, and edges where the lines of the space intersect.

Looking Beyond the Object

Beyond the object, walls create shapes, table legs create shapes, lamps create shapes, easels create shapes 

and shadows from these items create shapes. They also create holes in space (think of it as the air between

the objects or through the objects). These have a definitive form, and when they intersect the thing we are 

drawing, they give us landmarks for our overall picture plane, which helps to unite it and make for a more 

cohesive drawing (one that doesn’t happen by chance - one that you control).

What is important is seeing the negative space as a object itself. 

The parts that are more interesting are the "sky holes" or 

the shapes within the object.

Overlapping Objects make for more interesting

compositions.

Here is a bad example. Why? Because the artist

was more concerned about the contour and line inside

the object. 

Sighting

 Sighting

A good way to make accurate drawings is to use this simple method of checking everything your doing.

• Drawing or representing a 3-Dimensional form on a  2-Dimensional surface requires, in essence, a language translation.
• Always keep your arm fully extended. 
• Close one eye. 
• Look for comparisons. 
• Work from general to specific. (keep it simple)

Axis points

Horizontal 

Vertical

Compare other objects

Unit of Measure / Comparisons 

Applications of Sighting 

• Relative Proportions
• Angles and Axis Points
• Vertical or Horizontal Alignments

Line

What IS LINE?

Kinds of Line 

Vertical 

Horizontal

 Diagonal

 Zigzag

 Curved

Variations in Line-add interest to your lines 

Length 

Width 

Texture

Line Quality or line weight:

Refers to the thickness or thinness of a line. By varying the line quality artists can make objects appear more 3-Dimensional and more interesting.

Syllabubs

UVU

ART 1020  

Instructor: Travis Petersen

Course Description 

For non-art majors. Introductory class to drawing, its formal elements and the fundamental principles of design. Exploring the basic techniques of drawing using a variety of media. 

OPTIONAL TEXT:  A GUIDE TO DRAWING by Faber and Mendelowitz

Course Objectives 

Proficiency in observational skills, visual and mechanical measuring techniques, chiaroscuro, and an understanding of the basics of composition.

To explore abstraction and non-objective imagery 

Understanding terms and vocabulary. 

Topics include: Composition, Line, Gesture, Shape / Form, Value, Texture, Perspective,

Expectations

Come to class on time ready to draw. 

Be respectful to me and those around you. Quiet talking, smelly food, cleanliness, listening, etc.

No cell phones, if you need to make or answer a call step out of the class.

No homework from other classes.

Clean up, this includes personal supplies, class room supplies, and work area. Classroom is a communal studio space and shared by several classes.

I am not your mom!

Attendance

Attendance is mandatory. Since we will be having regular lectures, discussions and in class projects that are done in a successive order, it is important you don’t miss class. Students are allowed 2 unexcused absences. Absences and tardies are the same, after the first 10 min of class you will be marked down as Absent. After the two unexcused absences, each additional 2 absence will result in a full grade reduction. 6 absences results in an incomplete or fail.

Assignments 

In Class assignments as well as out of class homework will be given on a weekly basis. If you are absent for an in class assignment you will not be able to make up what you missed. Homework will be assigned at the beginning of each week and due the following week unless other wise stipulated. Home work will be due at the beginning of class. Each student is responsible for his or her self to find out what is due each week. Late work will not be accepted. If you cant make it to class your work still can. Instructor reserves the right to change assignments criteria week to week. Along with weekly assignments we will have a midterm project and a final project. Grading will be assessed with evaluation reports.

Grade Scale 

A= Excellent. Ability and execution surpasses ordinary standards of what is expected.

B=Good. Complete portfolio that reflects improvement and techniques above average.

C=Fair. Problems with attendance and or incomplete portfolio, erratic performance. 

D=Poor. Attitude, attendance and effort lacking. Not completing objectives. 

E=No Credit.

Class Discussions

We will spend at least a third of the semester in class discussions, critiques, and lectures. Every student is expected to participate. 

Participation will constitute a % of your grade.

Supplies / Materials

Canson or Strathmore Newsprint Pad 18x24

Canson or Strathmore Drawing Paper 18x24 80lb smooth

Sketchbook 8x10 (or larger), 100 sheets white

Speedball India Ink 2 oz 

Graphite Pencils (blue kind), #2(HB) and then two each of 2b, 4b, 6b, 8b

2 Compressed Charcoal (square)

Blue Masking tape or Artist tape

Pink Pearl Eraser and a Kneaded Eraser

Drawing Board. Masonite with clips. (big enough for 18x24)

Utility Knife and Sandpaper block or strip for sharping. 

Box/Container for supplies and Portfolio. 

12” ruler

Workable Fixative 1 can

1 bar of soap

Disclaimer:  Instructor reserves the right to change the topics covered or order in which they are covered after notifying the class in advance. 

NOTE:

"Students who need accommodations because of a disability should contact the UVU Accessibility Services Department (ASD), located on the Orem Campus, in LC 312. To schedule an appointment, or speak with a counselor, call the ASD office at 801-863-8747, or for Deaf/Hard of Hearing individuals, use the video phone number, 886-760-1819."