1. Variation and Repetition
Final Drawing Project

2. Investigate the object from a series of sides, angles and distances.
Make a grid with 12 squares.   Consider different options for establishing a grid.
No more than 5% of the entire piece should be white.   (reserve the white for the brightest, brightest, brightest highlights.)
Push your darkest-darks so your object and lights pop out. Use your range of pencils.
Vary line weight.   (Don't flatten your piece by enclosing the object in a heavy outline).
Consider the balance of the piece as a whole.

3. Notice how the Artist  allows the shapes of the keys to flow into each other.   
this student doesn't outline the borders.  Instead she uses different tones in the background in each square.   She also balances these tones to evenly distribute them throughout the whole piece, as well as in the individual squares.
Notice how the Artist  allows the shapes of the keys to flow into each other.   
Zoe doesn't outline the borders.  Instead she uses different tones in the background in each square.   She also balances these tones to evenly distribute them throughout the whole piece, as well as in the individual squares.

4. Notice how this student used a white border around each of the twelve pieces to highlight each miniature drawing, and to unify them as well. What is the gestalt principle that causes this?
Pushing a 1-9 tonal range really helped reinforce the organic details and textures in this piece.
Notice how Alix used a white border around each of her twelve pieces to highlight each minature drawing, and to unify them as well

5. Positive and negative shapes become interchangeable.
This student carefully chose a two color palette and distributed the colors, line variations, and textures of the pen renderings to create a playful sense of rhythm and balance.
Positive and negative shapes become interchangeable.
Andrew carefully chose a two color palette and distributed the colors, line variations, and textures of the pen renderings to create a playful sense of rhythm and balance.
Positive and negative shapes become interchangeable.

6. CONTOUR LINE
CROSS CONTOUR
HIGH CONTRAST
MODELING
IMPLIED LINE
CROSS HATCH

7. CONTOUR LINE

8. HIGH CONTRAST

9. IMPLIED LINE

10. CROSS CONTOUR

11. CROSS HATCH

12. MODELING

13. CONTOUR LINE
CROSS CONTOUR
HIGH CONTRAST
MODELING
IMPLIED LINE
CROSS HATCH

32. Using an eraser

34. Due Friday May 17th Painting
Painting Rubric/Reflection w/Painting Unit Checklist (date stamps)
Pencil Exploration lines –
15 light, 15 dark, 15 variegated, 15 curved lines
Value Scales Worksheet
Value Recreation –
3 photos
9 cross contour squares

35. Pencil Exploration Lines (Done in class – if you were not here don’t worry about it)

36. Value recreation – due by May 17th
Use an H pencil to copy the photograph on the left into the corresponding box on the right as exactly as possible, using contour line. Then use a 2B or 6B pencil and blending stump to recreate the values as exactly as possible. Work neatly and carefully. Do not scribble. I will give you only one paper. If you need another you must print it yourself from my website: or on the SLC

37. 9 Cross Contour Squares
– due by May 17th