“Perspective, Line, and Shape Analysis” by Alfia White, Fall 2010
by 12/15, 5pm or before you leave for WINTER BREAK.
Put this painting in your Visual Journal.
Visual Journals will can be dropped of in the boxes labeled by section in 401.
Watercolor and Felt Marker or Pen
12″ x 18″ Watercolor Paper
Even left and right; even upper and lower
Justified to the left edge of the left painting in a single line:
Name/ Section #/ Week K/ Fall 2012
Letter height should not exceed 1/4”
See examples here and posted in 401
Using an original source image (one that you have taken of New Orleans using a digital camera with an exaggerated sense of perspective) lightly freehand sketch the composition twice, side by side.
The objective here is not photo-realism. The side-by-side sketches should be similar but not identical.
Edit out the ugly. Remove dumpsters, trash cans, cars, and/or general visual clutter from source image to sketch.
Render the sketch on the right in watercolor, identifying large shapes within the composition. These “shapes” can be the result of architecture, the urban condition, negative space, light, shadow, or all of the above. Be mindful of your color mixing. Do not use color straight out of the tubes. Think Color Chart with Three Columns + LeCorbusier’s Watercolor Studies of Italy.
Divide the sketch on the left into two equal vertical sections. Using a fine tip marker or pen (not ballpoint), reduce one section down to the most simple line and form. Everything you have learned about line weight is in play here. Choose only the most critical lines that are important to the overall composition. Erase pencil sketch.
In the remaining section, use a fine tip marker or pen (not ballpoint) to add the details you really wanted but could not in the previous section. Think hatch, cross-hatch, stipple, layering/direction of marks, Stoller. Keep drawing loose.