1. The 3rd Dimension A lesson in perspective
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Drawing II
c K. Hepford

2. On a flat surface you have height and width, but to really master the art of drawing and in essence, all two-dimensional art, you must conquer the third dimension: depth.
Going deeper into the distance of the paper is not so difficult as rising beyond it’s surface.
Drawing II
c K. Hepford

3. The Great Wall Go to Unit4: Exercises to turn in Exercise #1
Follow the instructions on the left to create a wall that recedes from and protrudes into the viewers space. Shade to give it solidity and light direction.
Keep in mind that dark values usually recede in to space while bright values leap from the surface.
Look at this student work.
He does a good job with light
direction and shadow. Do you see
what direction the light comes from?
The effect of the wall protruding
into the viewer’s space could have
been more effective had he shaded
darker in the distance and gradually
brighter toward the viewer. Where
would the light need to come from to do that?
Go to Unit4: Exercises to turn in
Drawing II
c K. Hepford

4. Project Description Kimono by Moriguchi, Kako Project: Turning Twig
Subject: Tree branch & blossom
Medium: Ink & oil pastel/watercolor wash
Art Terms: Foreshortening, implied line, resist
Objective: To draw a branch that projects toward the viewer and leaves an interesting, blank negative space. Students will learn
the beauty of blank space and how an artwork can instill peace.
Research Artist:
Moriguchi Kako: Living National Treasure, Japan
Mr. Moriguchi is a master of the yuzen dyeing process.
After WWII, so much Of Japan was destroyed that they were in danger of
losing their very heritage and ideals and many of the ancient arts would
be lost. Master artists were sought out to take on apprentices and pass
down their arts. These few great artists were known as Bearers of
Important Intangible Cultural Assets–or more commonly, Living National
Treasures.
I’ve chosen Kako for his attention to the negative space (which he leaves
blank) and his peaceful art style. None of his work projects toward the
viewer to the extent that I would like you to attempt, yet one does feel
that they could reach out and break a twig off of the branches he designs.
(Even the Chinese writing that so influenced Japan has characters
which project into the viewer’s space.)
Kimono by Moriguchi, Kako
Here is a link to explore :
Drawing II
c K. Hepford

5. (an excerpt from Kako’s sketchbook)
Drawing II
c K. Hepford

6. Thumbnails
Decide layout... You may create a single panel, triptych, diptych or several small bookmark sized artworks. You may even draw a kimono pattern on your paper and fill it with your design.
No figure or animal is necessary, though you are welcome to do as you please -so long as you have
some part of a branch projecting to the viewer and interesting, blank negative space.
If you do add something extra...
Please practice whatever you are thinking of adding in your sketchbook before placement of it on your artwork.
Triptych: three panel
In the diptych and triptych, the eye connects the image with an implied line. The eye imagines what should be there and sees the image as a whole, but the separation is also pleasing in it’s orderliness.
Diptych: two panel
No thumbnails are required though you may certainly do some experimental sketching as you do have a student choice weekly sketchbook assignment this week.
Drawing II
c K. Hepford

7. Go to art room or Unit 4: Ck1 to show your work
Instruction
Try not to use pencil first. You will find it more interesting to explore where the line goes without pre-sketching. You can
always do more than one and may decide to use your practice ones even if you didn’t at first like them. More ink can be
added...bases can be thickened... The main thing is to start with a hollow tree/hollow branches so that you can fill them with
lots of different lines and values.
Stretch your paper. (wet full page slightly with sponge and tape all edges down to dry drawing surface –blow dry)
Get three values mixed for drawing in India ink. (Traditionally – rice paper)
Using your bamboo pen, dip in straight India ink and lay down the outer edges
of the branch or tree. Remember that some part of it must project toward the
viewer (yourself at this point) and that you want peaceful, yet interesting blank space.
The great thing about bamboo pens is that they can lay down a thick line or trail off to very thin scratch-like lines for texture or stems.
Give the wood texture and volume with your various value washes. Lay down some lines of lighter value for the form of the branch. Work on other branches while that layer quickly dries, then follow with dark values for texture. Use a variety of line.
As the ink is drying, decide placement of flowers. Use oil pastel to draw petals of blossoms in dry areas. Blend
different tints and shades of a hue. Do NOT draw flower centers or bases as these will be done in ink. Imagine various angles of the flowers, some facing front, some side-ways and some facing backward depending on
the bend of the branch. These may just look like smudges of color until we add the ink detail.
Go to art room or Unit 4: Ck1 to show your work
(I keep a blow dryer in my studio because I like to move on more quickly...After checking for teacher feedback , you may blow dry but be careful - Holding it too close can move your ink into unwanted areas.)
Drawing II
c K. Hepford

8. Fine detailing View Feedback.
Now that your piece is dry, go over branches with oil pastels- (white/gray) to add highlights ...(especially that piece that is supposed to pop off the page toward the viewer).
Draw additional blossoms in oil pastel on dry ink areas for overlapping.
Go back and detail center of flowers with dots of ink, outline petals here and there with ink. Read on or work in your sketchbook while you let this dry completely.
Or, now that you see how easy and fun it is, start another while
this one dries. On the next one, you can experiment with other
colored oil pastels in the bark or even experiment with a different
subject matter.
Drawing II
c K. Hepford

9. Complete Project Go to Unit4: Project in your course to turn in.
Your final step is to create a water color
wash using a small dab of paint in your kit
with a about ¼ cup of water.
Choose a color that will accent your piece.
Often a complimentary color is pleasing to
make the blossoms stand out, but subdued
color choices can be more peaceful.
Make sure the tape around your piece is
secure and use your largest brush to lay
the wash over the entire surface.
India ink is waterproof and oil
does not mix with water so your
oil pastels will deflect the water color.
Go to Unit4: Project in your course to turn in.
Dry completely, then
remove tape or cut away
tape with a blade.
Drawing II
c K. Hepford

10. Resource List Great wall worksheet:
In Search of the Spirit: The Living National Treasures of Japan by Sheila Hamanaka & Ayano Ohmi
National Geographic's Living Treasures of Japan
Drawing II
c K. Hepford